New Mozart Edition II/5/7 Lucio

WOLFGANG AMADEUS MOZART

Series II

Works for the Stage

WORK GROUP 5: AND SINGSPIELS VOLUME 7: SUB-VOLUME 1: ACT I

PRESENTED BY KATHLEEN KUZMICK HANSELL

1986

International Mozart Foundation, Online Publications IV New Mozart Edition II/5/7 Lucio Silla

Neue Mozart-Ausgabe (New Mozart Edition)*

WOLFGANG AMADEUS MOZART The Complete Works

BÄRENREITER KASSEL ò BASEL ò LONDON

En coopération avec le Conseil international de la Musique

Editorial Board: Dietrich Berke ò Wolfgang Plath ò Wolfgang Rehm

Agents for BRITISH COMMONWEALTH OF NATIONS: Bärenreiter Ltd. London BUNDESREPUBLIK DEUTSCHLAND: Bärenreiter-Verlag Kassel SWITZERLAND and all other countries not named here: Bärenreiter-Verlag Basel

As a supplement to each volume a Critical Report (Kritischer Bericht) in German is available

The editing of the NMA is supported by City of Augsburg City of Salzburg Administration Land Salzburg City of Konferenz der Akademien der Wissenschaften in der Bundesrepublik Deutschland, represented by Akademie der Wissenschaften und der Literatur Mainz, with funds from Bundesministerium für Forschung und Technologie, Bonn and Bayerisches Staatsministerium für Unterricht und Kultus Ministerium für Kultur der Deutschen Demokratischen Republik Bundesministerium für Unterricht und Kunst, Vienna

* Hereafter referred to as the NMA. The predecessor, the "Alte Mozart-Edition" (Old Mozart Edition) is referred to as the AMA.

International Mozart Foundation, Online Publications V

New Mozart Edition II/5/7 Lucio Silla

CONTENTS

Sub-volume 1:

Editorial Principles ……………..…………………………………………………….. VII

Foreword………….…………………….……………………………………………… IX

Facsimile: first page of the autograph: beginning of the Overtura………………………. XLIV

Facsimile: autograph Atto primo , leaf 91 r: beginning of Scena VII …………………….. XLV

Facsimiles: autograph Atto secondo , leaf 14(13) v and leaf 15(14) r: from the Recitativo in Scena II…………………………………………………………….. XLVI

Facsimile: autograph Atto secondo , leaf 43 v: end of the recitative preceding No. 11……. XLVIII

Facsimile: autograph Atto secondo , leaf 63 v: end of the recitative preceding No. 12……. XLIX

Facsimiles: autograph Atto terzo , leaf 23 v and leaf 24 r: from No. 20……………………. L

Facsimile: Turin score copy: a page from No. 21………………………………………... LII

Facsimile: Turin score copy: a page from No. 22………………………………………... LIII

Facsimiles: title page and pages [9] and [10] from the …………………... LIV

Facsimiles: pages [11], [12] and [12a] from the Milan libretto …………………………. LV

Facsimile: Fabrizio Galliari: Rovine. Lucio Silla Atto primo, Mutazione 1 / Scene 1 ….. LVI

Facsimile: Fabrizio Galliari: Sepolcri. Lucio Silla Atto primo, Mutazione 3 / Scene 2 … LVII

Dramatis Personae , orchestral scoring………………………………………………..… 2

Index of scenes and numbers……………………………………………………………. 3

Overtura…………………………………………………………………………………. 5

Atto primo……………………………………………………………………………….. 25

Sub-volume 2

Atto secondo……………………………………………………………………………... 179

Atto terzo……………………………………………………………………………….... 371

Appendix

No. 14 with ornamented vocal line ………………………………………………………. 471

International Mozart Foundation, Online Publications VI

New Mozart Edition II/5/7 Lucio Silla

EDITORIAL PRINCIPLES

The New Mozart Edition (NMA) provides for research footnotes, all additions and completions in the music purposes a music text based on impeccable scholarship volumes are indicated, for which the following scheme applied to all available sources – principally Mozart’s applies: letters (words, dynamic markings, tr signs and autographs – while at the same time serving the needs numbers in italics; principal notes, accidentals before of practising musicians. The NMA appears in 10 Series principal notes, dashes, dots, fermatas, ornaments and subdivided into 35 Work Groups: smaller rests (half notes, quarters, etc.) in small print; slurs and crescendo marks in broken lines; grace and I: Sacred Vocal Works (1–4) ornamental notes in square brackets. An exception to II: Theatrical Works (5–7) the rule for numbers is the case of those grouping III: Songs, Part-Songs, Canons (8–10) triplets, sextuplets, etc. together, which are always in IV: Orchestral Works (11–13) italics, those added editorially in smaller print. Whole V: Concertos (14–15) measure rests missing in the source have been VI: Church Sonatas (16) completed tacitly. VII: Large Solo Instrument Ensembles (17–18) The title of each work as well as the VIII: Chamber Music (19–23) specification in italics of the instruments and voices at IX: Keyboard Music (24–27) the beginning of each piece have been normalised, the X: Supplement (28–35) disposition of the score follows today’s practice. The wording of the original titles and score disposition are For every volume of music a Critical provided in the Critical Commentary in German. The Commentary (Kritischer Bericht) in German is original notation for transposing instruments has been available, in which the source situation, variant retained. C-clefs used in the sources have been replaced readings or Mozart’s corrections are presented and all by modern clefs. Mozart always notated singly other special problems discussed. occurring sixteenth, thirty-second notes etc. crossed- Within the volumes and Work Groups the through, (i.e. instead of ); the notation completed works appear in their order of composition. therefore does not distinguish between long or short Sketches, draughts and fragments are placed in an realisations. The NMA generally renders these in the Appendix at the end of the relevant volume. Sketches modern notation etc.; if a grace note of this etc. which cannot be assigned to a particular work, but kind should be interpreted as ″short ″ an additional only to a genre or group of works, generally appear in chronological order at the end of the final volume of indication ″ ″ is given over the relevant grace note. the relevant Work Group. Where an identification Missing slurs at grace notes or grace note groups as regarding genre is not possible, the sketches etc. are well as articulation signs on ornamental notes have published in Series X, Supplement (Work Group 30: generally been added without comment. Dynamic Studies, Sketches, Draughts, Fragments, Various). Lost markings are rendered in the modern form, e.g. f and p compositions are mentioned in the relevant Critical instead of for: and pia: Commentary in German. Works of doubtful The texts of vocal works have been authenticity appear in Series X (Work Group 29). adjusted following modern orthography. The realisation Works which are almost certainly spurious have not of the bass continuo, in small print, is as a rule only been included. provided for secco recitatives. For any editorial Of the various versions of a work or part of departures from these guidelines refer to the relevant a work, that version has generally been chosen as the Foreword and to the Critical Commentary in German. A comprehensive representation of the basis for editing which is regarded as final and rd definitive. Previous or alternative forms are reproduced editorial guidelines for the NMA (3 version, 1962) in the Appendix. has been published in Editionsrichtlinien musikalischer The NMA uses the numbering of the Denkmäler und Gesamtausgaben [Editorial Guidelines Köchel Catalogue (KV); those numberings which differ for Musical Heritage and Complete Editions]. in the third and expanded edition (KV 3 or KV 3a ) are Commissioned by the Gesellschaft für Forschung and given in brackets; occasional differing numberings in edited by Georg von Dadelsen, Kassel etc., 1963, pp. the sixth edition (KV 6) are indicated. 99-129. Offprints of this as well as the Bericht über die With the exception of work titles, entries in Mitarbeitertagung und Kassel, 29. – 30. 1981 , the score margin, dates of composition and the published privately in 1984, can be obtained from the Editorial Board of the NMA. The Editorial Board

International Mozart Foundation, Online Publications VII New Mozart Edition II/5/7 Lucio Silla

FOREWORD

GENESIS surviving documents and from correspondence between Vienna and Milan that for the wedding 1. The Commission from Milan entertainments of October 1771 court officials and even Empress Maria Theresa herself exerted Mozart and his father were in Verona in March of pressure on the theater management with regard to 1771 preparing for their return to Salzburg after choice of singers, librettists and 2, such more than a year's sojourn in Italy when they a degree of involvement was highly unusual. For received two most welcome pieces of news: the ordinary Carnival operas the chief concerns were financial and only secondarily artistic, and ″Received letter from Milan yesterday announcing these were solely the domain of the theater’s a communication from Vienna received in impresario. Before the ascension of Archduke Salzburg and which will set you in astonishment, Ferdinand in October 1771 the impresario’s rights but which will bring immortal honor to our son. were exclusive and governmental interference in The same letter also brought me another bit of the theater’s normal operations minimal. pleasant news .″1 There is no doubt, however, that the young While the first allusion is to the flattering Archduke, who became passionately involved in invitation from the court at Vienna for the young the theater at Milan, desired leeway to exert Wolfgang to compose the Serenata ( Ascanio in greater artistic control. Hence when two years Alba ) for the wedding at Milan of Archduke later a new contract was drawn up with the new Ferdinand in October 1771, the second "bit of theater director, to take effect in December 1773, pleasant news" refers to a new commission from the clause stipulating the impresario’s rights had Milan's Regio Ducal Teatro. As Leopold been reformulated so that prior official approval explained in a letter some months later: was necessary in the selection of and "[...] appena arrivati à casa, ebbi una Lettera performers. Mozart received his commission from della Impresa del Teatro di Milano nella quale fù the Regio Ducal Teatro before these conditions accordato il mio figlio à scrivere l' del prevailed, in fact, before the Archduke had ever Carnavale 1773 [...]" set foot in Milan. It is only logical to assume, ("[...] we had hardly arrived when I received a therefore, that he was engaged directly by the letter from the theater management in Milan in theater on his own merits, and not due to pressure which they agreed that my son should write the from Milan's plenipotentiary minister Count Carnival opera 1773 [...]") Firmian answering to officials in Vienna. Ironically, in the single instance when extant Evidently the reception accorded Mozart's evidence shows that the court at Milan actually first Milanese opera Mitridate KV87 (74 a) during did intervene on Mozart's behalf – when Carnival 1770/71 had been favorable enough that Archduke Ferdinand wrote to his mother the impresario Gaetano Crivelli was willing to entrust Empress in November 1771 asking to take Wolfgang with another important work. Wolfgang into his service – the outcome only proved unfavourable. 3 This incident did not affect The preference given the then fifteen-year Mozart's engagement for the 1772/73 Carnival, old Mozart over older, more experienced since his services had already been contracted a composers by one of Italy’s foremost opera half-year earlier. Whether or not it influenced the houses is an issue that has previously been fact that Wolfgang received no further approached on the basis of assumptions rather commissions from Milan nor any later than real evidence. Now while it is clear, from appointments in Italy is uncertain.

1 in his letter of 14/18 March 1771 to 2 Cf. Kathleen K. Hansell, Opera and Ballet at the his wife in Salzburg. This and all other letter Regio Ducal Teatro of Milan 1771-1776: a Musical quotations, indicated only by the date, are taken from and Social History (Ph.D. diss., Berkeley: Univ. of Mozart. Briefe und Aufzeichnungen. Complete edition, California, 1979), pp. 14-39. compiled and elucidated by Wilhelm A. Bauer and 3 Maria Teresa’s negative reply of 12 December 1771 Otto Erich Deutsch, Kassel etc., 1962/3, pp. 21f., with is cited in Otto Erich Deutsch, Mozart: a Documentary commentaries and register compiled by Joseph Heinz Biography (Stanford: Stanford Univ. Press, 1965), p. Eibl (Kassel etc. 1975). 138.

International Mozart Foundation, Online Publications IX New Mozart Edition II/5/7 Lucio Silla

Mozart's contract with the theater of Milan year, the Milanese Carnival season might be is typical for the period and furnishes indications anywhere from 44 to 78 days in length. regarding opera composition in Italy which are Furthermore, since Fridays and other church holy corroborated by many contemporary scores days were considered penitential days, places of including, of course, those of Mozart himself: entertainment were closed then, reducing the total number of available days for performances to "Resta accordato il Sign. Amadeo Mozart per between 38 and 67. Occasionally a very short mettere in musica il primo dramma che si Carnival decided the theater management to stage rappresenterà in questo Regio Ducal Teatro di just one production. But normally the Regio Ducal Milano nel Carnovale dell'anno 1773 e le si Teatro produced two Opere serie each Carnival assegnano per onorario delle sue virtuose fatiche season. Gigliati cento trento, dico 130 g. ed allogio As in other Italian opera houses of the day, mobigliato. at Milan the custom was to show one work Patto che il sud.o Sign. Maestro debba continuously for a number of weeks and then lay transmettere tutti li recitativi posti in musica entro it down and, after a four or five-day pause, take up il Mese di 8bre dell'anno 1772 e ritrovarsi in the next opera, which thereafter would likewise Milano al principio del susseguente mese di 9bre play uninterruptedly for several weeks. For per comporre le arie ed assistere a tutte le prove technical and other reasons it was easier not to necessarie per l'opera suddetta. Risservati li soliti present several works concurrently on alternating infortunij di teatro e fatto di Principe (che Dio days. Once taken out of production a serious opera non voglia). was almost never seen again at the same theater, Gl'Associati nel Regio Appalto del Teatro since the influential part of the audience – wealthy Federico Castiglione ." aristocratic families – remained essentially ("It is agreed that Sig. Amadeo Mozart will set to unchanged throughout an entire season. music the first drama to be performed in the Teatro Regio Ducal of Milan in the Carnival of It is only natural that Mozart, as a young the year 1773 and as honorarium for his artistic still lacking an international reputation, services are to be assigned to him one hundred was asked to set the first rather than the second and thirty Gigliati viz. 130 g, and furnished Carnival opera for Milan in 1772/73. Predictably lodgings. too, the stipulated remuneration was It is further agreed that the said Maestro is to comparatively modest. Both impresarios’ deliver all the recitatives set to music within the contracts and surviving account books of the month of October of the year 1772 and to be in Regio Ducal Teatro make clear that the Milan again at the beginning of the subsequent management normally expected to take in greater month of November to compose the arias and be revenues from the second of the two Carnival present at all the rehearsals required by the said operas and therefore generally engaged better- opera. With the usual reservations in case of known composers at a higher salary and planned theatrical misfortunes and Princely intervention the more spectacular production as the closing (which God forbid). item of the season, often with a somewhat longer The Associates of the Lessee of the Theater ") 4 run than the first opera. A successful opening opera might be allowed to go on playing for as Carnival season at Milan began on 26 much as one week above the estimated minimum December, Saint Stephen's Day, and, following for that season. the Ambrosian rite, concluded on "Fat Saturday" (Sabato grasso) or four days later than in those In other respects the terms of Mozart's towns adhering to the Roman rite. Impresarios contract were the same as those then given all determining production schedules for the Opere composers. Thus the recitatives, unlike arias, were serie were confronted annually with the necessity not considered to require special tailoring to of adjusting to Carnival seasons that varied greatly individual singers and in addition were always in length. Since "Fat Saturday“ could, according those items first rehearsed; they could therefore be to the Church's lunar calendar, fall anywhere written well ahead of time and supplied two between 7 February and 13 March in a specific months before the scheduled première. The six or seven singers comprising the normal cast of an were expected to arrive in town about 4 Ibid., p. 133.

International Mozart Foundation, Online Publications X New Mozart Edition II/5/7 Lucio Silla three weeks later to begin learning their roles. It the stage at Milan as elsewhere in Italy. Only was the composer’s duty to be on hand then to during Gamerra’s actual five-year engagement at work with the performers and finish their arias, the Regio Ducal Teatro did his librettos and suiting them to their particular talents. Rehearsals aesthetic temporarily assume prominence. When did not begin until a couple of weeks before the Gamerra left to become court poet in Vienna in opening performance. One requirement not 1775 the theater at Milan returned once again to mentioned in Mozart's contract but known to him more usual fare. During Carnival season opera from previous experience at Milan was that of texts of Metastasio again occupied first rank personally leading the first three performances of through the remainder of the 1770's and the opera from the harpsichord. throughout the 1780's and early ’90's at . Three works by Gamerra played at La Scala 2. and the Libretto between 1790 and ’92. In Italy, the Napoleonic era, with its proscription of singers, Mozart had received his contract from the signalled not only the end of the Metastasian era Regio Ducal Teatro over a year and a half in but also of Gamerra’s Italian career. advance of the scheduled première. According to usual practice, the singers, like the choreographers To literary historians Gamerra is best and dancers for the entr’acte ballets, had in all known as the first and most important author of likelihood been engaged about a year before they Italian pièces larmoyantes ( drammi lagrimosi ), were to arrive at Milan for rehearsals. The text of which display his " taste for the horrid and the opera-to-be, however, was as yet an unknown melodramatic " and are full of " pre-romantic quantity. Normally the last item to be taken into effusions ". 6 These aspects as well as his penchant consideration by the theater impresario, the for the marvelous found their way into the new libretto for Mozart's new opera was entrusted as libretto for the first Carnival opera at Milan of often the case to the poet in the regular employ of 1773: Lucio Silla . the theater. Since Milan's long-time theater poet (or "butcher" as he was also jestingly known), Based loosely on events in the life of the Claudio Nicola Stampa, had just retired, the post Roman dictator Lucius Cornelius (138-78 had been assumed in 1771 by the much younger B.C.) as recorded by Plutarch, the opera’s Giovanni de Gamerra (1743-1803). Having taken seemingly arbitrary ending is in fact historically minor ecclesiastical orders in his native , grounded. After numerous cruelties and studied law at Pisa and then become an official in proscription of hundreds of Rome’s nobility, in the Austrian army at Milan between 1765 and the year 79 B.C. the real Sulla suddenly gave up 1770, Gamerra began making a name for himself his title of "Dictator" and withdrew from public as a writer towards the end of his military service. life, only to die within a year. The vagaries of his character provided fertile soil for the librettist's Gamerra had written what was probably imagination. Lucius Cinna and Aufidius were also the first of his own opera texts, Armida , in 1769. actual historical figures, although the former was Both in the Argomento and in a discourse Sulla’s open enemy and not the secret conspirator appended at the end of the original libretto 5 – the Gamerra makes him. The opera’s female latter entitled Osservazioni sull'Opera in musica – characters, Giunia and Celia, seem to be Gamerra expresses his aesthetic views. These are Gamerra’s inventions, although possibly based on much more in line with tastes in France and to members of the family and friends of Sulla’s some degree with the Viennese "reform" operas of enemy Caius Marius (called Mario in the opera), a Gluck and Traetta than with Metastasian Opera personage not present on stage but named seria. Gamerra pleads for a return of spectacle to repeatedly in the text as the father of Giunia and opera in the form of choruses, ballets and stage ally of Cecilio. machines. While the plot of Lucio Silla is typical of For at least the last three decades prior to many Italian opera librettos of the time – Gamerra’s appointment at the Regio Ducal Teatro emphasizing as it does love interests and noble the works of Metastasio had entirely dominated attributes above all and containing a subplot

5 Copy in the Library of Congress, Washington D.C. 6 See the article Gamerra in Enciclopedia dello (Schatz 11309 ) Spettacolo , vol. IV (1957), pp. 334-35.

International Mozart Foundation, Online Publications XI New Mozart Edition II/5/7 Lucio Silla involving the secondary characters – many the tombs. Even apart from these more features of its construction are less than usual. To concentrated presentations of the shadowy world varying degrees these characteristics had an effect of the dead, the libretto is saturated with gloomy on the music that Mozart was to write and are forebodings. A long catalogue of words frequently hence worth reviewing here. recurring throughout the text refers to shadows (tenebroso , oscuro , ombra ), icy cold ( gelido , gelo , Forced to bow to current Italian tastes, agghiaccio ), deathly pallor and grief ( pallido , Gamerra was not able to incorporate fantastic duolo ), the grave ( tomba , sepolorale , funesto ) and scenes and machines in Lucio Silla . Nor was he to spirits and the dead ( larva , immagine funesto , include danced sequences within the main part of estinto , morto , morte ). the opera. He did, however, write the final chorus (No. 23) so that it was much more than the An additional number of less than regular perfunctory closing for the principal soloists usual structural features distinguish the aria texts of in an Opera seria. In three verses with intervening Lucio Silla . Whereas about ninety percent of all lines for pairs of soloists, it is to be sung by a full verses written for Italian Opera seria arias during chorus. In structure and rhythm it suggests a grand the Metastasian era use the two most common chaconne. The opera text contains two additional poetic meters, the settenario (seven-syllable line) choruses, the first a group of mourners in the tomb and ottonario (eight-syllable) and tend to maintain scene of Act I (No. 6), and the second one meter throughout a single aria, Gamerra representing the Roman populace at the opening strove for greater variety. He set two of the of the Campidoglio scene towards the end of Act eighteen solo arias (Nos. 10 and 21) in quinario II (No. 17). While a triumphal chorus at the (five-syllable), one in the rather rare decasillabo beginning of a new stage setting was a common (No. 22) and five others in varying meters, feature, the use of a chorus with a solo middle including one with quinario for the second stanza section as part of a large scene complex (Act I, (No. 13) and two with decasillabo for the first scenes VII-IX) intended to be set as orchestrally stanza (Nos. 5 and 16). Because composers tended accompanied recitatives plus a closing duet (No. to set syllabically the initial presentations of 7) would have been considered highly innovative. poetic lines, distributing the syllables in a limited The standard pattern after all was still the number of well-established accentual patterns alternation of dialogue, in the form of simple according to the poetic meter, the librettist's recitative, with reflective, rhymed, metrical verses choice of meter very much influenced the kind of for the solo exit arias. impression that the musical setting would make on listeners. Two stanzas of poetry were the norm for Gamerra’s inclination towards the " horrid solo arias; only ensemble numbers (duets, trios, and melodramatic " emerges clearly not only in etc.) and choruses ordinarily had three or more, the above-mentioned tomb scene but in three other while the occasional one-stanza Cavatina was sections of the drama as well. True, the Ombra customarily the province of the Prima donna and scene for the Prima donna in Act III (scene V with Primo uomo. Again, Gamerra turned away from No. 22) is a feature to be found in the last act of tradition when he allowed Celia, the Seconda numerous serious operas from mid-century donna, two Cavatine (Nos. 10 and 19) and cast onward. 7 But in addition, in Lucio Silla Gamerra two arias (Nos. 4 and 13) in three stanzas. No. 13, invokes the macabre in the fifth scene of Act I Silla’s ″D'ogni pietà mi spoglio ″, is further (with No. 4), when Giunia calls upon the spirit of unusual in that its three verses are divided over her dead father, and again in the long third scene sixteen lines (5 + 4 + 7) rather than adhering to of Act II in which Cecilio describes his horror in the ordinary quatrain. envisioning the ghost of Mario speaking to him in Perhaps in compensation for all of these

7 Almost every later 18th-century heroic opera textual anomalies loosening the established contains one of these ghost scenes, no matter how librettistic structure, Gamerra included four of the improbable in the context of the plot. Always a grand old-fashioned comparison arias in Lucio Silla . solo scena for the leading lady, it comprised several While ideally suited to the Da capo musical sections, including at least one obbligato recitative – setting and providing impulses for diverse frequently several – and an aria, and often one or more illustrative vocal and instrumental motives, the Cavatine and/or ariosi in addition to evocative comparison aria gradually came to be abandoned instrumental interludes.

International Mozart Foundation, Online Publications XII New Mozart Edition II/5/7 Lucio Silla as an impediment when through-composed or and Arcangelo Cortoni as Primo tenore. De other more unified musical schemes came to the Amicis, 39 years old in 1772 and at the height of fore. In Lucio Silla , Celia’s " Quando sugl’arsi her career, was one of Italy’s most renowned campi " in Act II (No. 15) offers the clearest female singers both as regards vocal technique example of the comparison aria. The other three and acting ability. Thirteen years her junior, are likewise for the secondary roles only: for the Rauzzini had only newly returned to Italy after six Secondo uomo, Lucio Cinna, " Vieni ov’amor years at the court of Munich. 9 Since he was t’invita " (No. 1) and " De' più superbi il core " (No. undoubtedly considered to be a strong partner for 20) and for the Ultima parte, Aufidio, " Guerrier, De Amicis, Rauzzini, in the role of Cecilio in che d’un acciaro " (No. 8). Lucio Silla , received nearly equal emphasis in Gamerra’s text. Both characters have four solo Textual devices such as the comparison arias, participate in the duet and trio and have two aria were but one means of setting apart the scenes each in which they are alone on stage – a members of the cast in a definite hierarchy. In all signal for the composer to set the recitative with of the heroic librettos set to music at Milan during orchestral accompaniment. Above this, Giunia’s the 1770's the plots revolve around six or seven role, in the person of Anna de Amicis, is further characters clearly ranked with the leading woman enhanced by a plaintive solo verse in the choral at the top. No longer is the Primo uomo so movement of Act I. While Cecilio’s strongest obviously equal in stature to the Prima donna as moments occur during the first act, Giunia’s part he had been at mid-century. A telling is stressed continuously throughout the libretto. confirmation of the rising fortunes of the Prima donna at the expense of the Primo uomo is to be Gamerra planned the name-part of Lucio found in theater account books. In the 1770's the Silla for the capable singer who Cortoni was two had, so to speak, exchanged positions, the reckoned to be. Hence the libretto shows four leading woman now commanding the fees once arias for Lucio Silla and two monologues, these paid only the great castrati, while the leading men, latter in Act I, scene VI and the close of Act II, with few exceptions, had to be content with scene II. When Cortoni played at Milan the salaries that were on the average 25 to 40 % following season, he sang as many as five solo lower. 8 The position of the Primo tenore, playing arias in Paisiello’s Andromeda (première 25 Jan. the traditional role of the ruler, varied from season 1774). Duxing the previous winter, however, he to season. In terms of salary, first fared had been ill and unable to fulfill his contract with even worse than Primi uomini, their scale of the Regio Ducal Teatro. 10 It was therefore remuneration having decreased drastically since eventually necessary to reduce the burden of the the 1750's. Ensembles, a part of every text, served hastily engaged substitute, a church tenor from further to distinguish the three principals from the Lodi with little stage experience named Bassano remainder of the cast. A duet for the two leading Morgnoni, and strike two of the intended four singers at the end of the first or second act was arias: "Il timor con passo incerto" from Act II, traditional. After mid-century a trio or even a quartet was also included as the climax of one of the first two acts.

3. The Cast and the Libretto 9 The careers and vocal abilities of both singers are The fact that the cast list for an opera described in my articles under their respective names production was usually determined well before the in The New Grove Dictionary of Music and Musicians librettist went to work certainly affected the (London, 1980), 5, p. 288 and 15, pp. 607-609. Wolfgang had already heard Rauzzini in Vienna in disposition of the text, especially in a newly 1767 (letter of 29 Sept. 1767) and De Amicis on commissioned piece. For Carnival 1772/73 the several earlier occasions, the most recent having been management of the Regio Ducal Teatro had at Naples in May 1770. contracted the services of Anna de Amicis as 10 According to the record books of Turin's Teatro Prima donna, Venanzio Rauzzini as Primo uomo Regio, Cortoni, engaged there for Carnival 1777/78, died in Padua in June 1777. See Marie-Thérèse 8 For a fuller discussion and documentation of changes Bouquet, Il Teatro di Corte dalle origine al 1788 , vol. in performers' salaries, see my dissertation, op.cit. (see I of Storia del Teatro Regio di Torino (Turin, 1976), p. footnote 2), pp. 214-219. 381.

International Mozart Foundation, Online Publications XIII New Mozart Edition II/5/7 Lucio Silla

scene III and "Se al generoso ardire" from Act III, and Act III with five. In total number of lines the scene VI.11 text of Lucio Silla is about 20 percent longer than other heroic operas produced at Milan in the As Secondo uomo and Seconda donna for 1770's.13 Since the second act was especially to 1772/73 the theater of Milan had engaged Felicità blame for the work’s uncommon length, it is not Suardi and Daniella Mienci. While little is known surprising that when Vittorio Amedeo Cigna-Santi about the latter singer except what can be deduced revised Gamerrs’s text for a Turin production in from her parts as Celia in Mozart's Lucio Silla and 1779 (with music by Michele Mortellari) his Erminia in Paisiello’s Andromeda, the modifications were directed chiefly at the professional life of Felicità Suardi is better abbreviation of Act II.14 Mattia Verazi had also documented. Normally in the employ of Turin's reworked the libretto for a performance at Teatro Regio, she had an extraordinary thirty-six- Mannheim in November 1773 to music of Johann year career as attrice sovranumeraria: from 1750 Christian Bach. Verazi also cut Act II, reducing it until her retirement in 1786 Suardi was regularly to nine numbers,15 and his libretto for Bach’s on call as a substitute for any soprano, male or Lucio Silla – he kept all the choruses and both female, who became ill. Only very rarely did she ensemble numbers – retained all the novel ever receive a scrittura at Turin on her own merits tendencies of Gamerra’s original, which must – which must have been considerable.12 In the have corresponded closely to the ideas of the male role of Lucio Cinna she was to have three revisor.16 solo arias, preceding the second of which she was even given a short solo scena (Act II, scene VI). 4. The Composition of the Opera Celia, Daniella Mienci, received four lyrical texts in Lucio Silla, but two of them are only single- The letters of Leopold and Wolfgang, the stanza Cavatine and none occur at dramatically autograph score and the extant 18th-century significant moments. Despite the fact that the role copies all offer clues regarding the genesis of the of Silla’s confidant Aufidio is an important one music for Lucio Silla. They show that Mozart for moving the plot along and for providing the followed custom and, more or less, the historical background, as the so-called Ultima stipulations of his contract as regards finishing off parte the singer taking the part, Giuseppe Onofrio, the individual sections of the opera. But the had typically to be satisfied with just one solo peculiarities of the libretto noted above gave aria. impetus to a score which in some respects proved

Viewed as a whole, Gamerra’s libretto for 13 Lucio Silla is very unusually proportioned. Detailed comparisons of several contemporary Ordinarily the first two acts of an Opera seria Milanese productions are presented in K. Hansell, Phil. were approximately equal in length, with the first Diss. 1979 (see footnote 2), pp. 331ff. 14 On the Turin revisions of Lucio Silla cf. Bouquet, act perhaps slightly longer than the second. op. cit., p. 385, footnote 274 (the passage in KV6, p. During the last half of the 18th century, the third 164, where Gamerra is said to have revised the libretto act shrank noticeably in size until it sometimes for Turin himself, is based on an error.) disappeared altogether. In the 1770's it was 15 See Charles Sanford Terry, , commonly just half the length of the other two. 2nd ed. (Oxford, 1967), pp. 232-33 and Corrigenda Lucio Silla, in the libretto’s final form, contains a (H.C. Robbins Landon), p. XLVf. – Lucio Silla was disproportionately large second act and a third act also set by for in May 1774, 16 which would also have been thought relatively The characteristics of Gamerra’s libretto must have long at the time. The opera was originally to have held an appeal for Verazi; this could at be concluded had seven numbers in Act I, twelve in Act II and from the adventurous aesthetic ideals he espoused in six in Act III. Even the eventual omission of the his innovative texts for Stuttgart and Mannheim in the 1750's and ‘60’s, not to mention the controversial two arias for Silla left Act II with eleven numbers works he wrote or re-arranged for the opening of La Scala in 1778 and 1779. See Marita Petzoldt 11 On this cuts (and on the scene divisions of Act III in McClymonds, Verazi’s controversial drammi in azioni the printed libretto, Milan, 1772) see the Critical as realised in the music of Salieri, Anfossi, Alessandri Commentary. and Mortellari for the opening of La Scala 1778-1779, 12 Numerous Turinese archival documents recording in: Mélange: ommaggio al Prof. Claudio Sartori, ed. Felicità Suardi-Bertola’s activities at the Teatro Regio François Lesure, Rome, 1985 are cited ibid., pp. 227ff.

International Mozart Foundation, Online Publications XIV New Mozart Edition II/5/7 Lucio Silla different not only from Mozart's earlier attempts of the day, would have worked from when setting at dramatic composition, but also from the sorts of a new text. Apart from the two excised arias for serious operas that had hitherto been shown at Silla and some minor changes, Mozart's score Milan. agrees in full with the libretto as printed. Certainly no evidence remains there of an interpolated scene On 14 November 1772 Leopold Mozart or any other substantial textual alterations. The penned the first letter to mention either the libretto only further hint of Metastasio’s collaboration or the music at all. He and Wolfgang had left occurs in a paragraph in the libretto following the Salzburg on 24 October, arriving at Milan on 4 summary of the plot's historical background November. More than a week later, as Leopold ("Argomento"). There, Gamerra notes with pride: notes: "Da tali Istorici fondamenti è tratta l'azione di ″Of the male and female singers, no-one is here questo Dramma, la quale è per verità fra le più yet apart from Signora Suarti, who will play the grandi, come ha sensatamente osservato il sempre Secondo uomo, and the Ultimo tenore. The Primo celebre, e inimitabile Sig. Abate Pietro uomo, Sgr. Rauzzini is expected any day now. But Metastasio, che colla sua rara affabilità s’è De Amicis will only get here at the end of this or degnato d’onorare il presente Drammatico the beginning of the coming month. Componimento d’una pienissima approvazione. Meanwhile, Wolfgang has had enough Allorchè questa proviene dalla meditazion entertainment writing the choruses, three in profonda, e dalla lunga, e gloriosa esperienza number, and the few recitatives, which he had dell'unico Maestro dell'Arte, esser deve ad un composed in Salzburg, have to be altered or in giovine Autore il maggior d' ogni elogio ." 18 some cases re-written, because the poet had sent ("From such historical foundations is taken the the poetry to Abbé Metastasio in Vienna to ask action of this drama, which is genuinely amongst him to look at it, and the latter had made the great, as has been astutely observed by the improvements, changed, and added a complete always renowned and inimitable Sig. Abbé Pietro scene in the 2 nd Act; then he wrote all the Metastasio, who with his rare affability has recitatives and the overture .″ deigned to honor the present dramatic writer with a most complete approval. Since this springs from Extrapolating from what is known about Mozart's profound meditation, and from the long and work on Mitridate two years earlier, one can glorious experience of the only Master of the Art, surmise that he had probably received Gamerra’s this must be the greatest of any eulogies for a original text, as well as the list of performers, young author .") sometime during late summer. As was common Italian practice at the time, he would then have Mozart's autograph score for Lucio Silla formed a general plan for the opera, including an offers ample corroboration for the remarks in his overall tonal scheme encompassing all the set correspondence regarding the order in which the pieces, and thereafter set about the task of writing constituent elements were put into final form. The down the recitatives. principal source for this edition, the manuscript is described below in the section Section D, (The Regarding whether Metastasio really Sources) and in greater detail in the Critical revised Giovanni de Gamerra’s text, as Leopold Report. Offered here are only observations Mozart’s letter of 14 November 1772 suggests, relevant to the present discussion. These concern there is no documentary evidence. Among chiefly the fascicle numeration, revisions of the Metastasio’s voluminous correspondence are recitative cadences and evidence for inserted or found several letters to Gamerra, but the earliest removed folios. When pertinent, additional of these is dated 13 September the following evidence from the four known 18th-century copies year. 17 None of them mention Lucio Silla ; nor of the score is considered. 19 does Metastasio allude to the work in letters to The autograph consists of a large number any other correspondent. No handwritten version of fascicles now bound into three volumes (one of the libretto is known, although it is precisely such that Mozart, like any other opera composer 18 Printed libretto, Milan, 1772, p. [8]; on the libretto see Section D ( The Sources) below. 17 See Tutte le opere di , ed. Bruno 19 On the copies of the score see Section D ( The Brunelli (Milan, 1952-54), vol. V, pp. 258-59, 266-67. Sources ) below.

International Mozart Foundation, Online Publications XV New Mozart Edition II/5/7 Lucio Silla for each Act) but at the time of the performance both of these indications – only the latter one is probably loosely strung together. As in all of scratched over – showing that the recitatives had Mozart's scores preceding The Marriage of been sent on for copying before the decision to Figaro , the normal unit comprising each fascicle omit the arias was made. At the recitative close was a large sheet of paper folded in half preceding Giunia’s aria " Fra i pensier più funesti (bifolium) and then in half again to form a di morte " (No. 22) there is no sign whatsoever of gathering of four leaves (= 2 bifolios).20 When the aria to follow. Mozart had written the new end necessary the bifolia were separated, resulting in a of the recitative, replaced the old bifolium by a fascicle of just two leaves. (The remaining half- new one, and forgot to add the usual directions. sheet was saved for later use.) While the closed numbers with orchestra almost always required Revisions of cadential bars in recitatives more than one ordinary fascicle of four leaves, preceding set pieces are frequent (10 cases) and many simple recitatives, using less space, fit on one of the clearest signs that Mozart had indeed one fascicle or even a single bifolium. To put and written down his settings of all the speeches keep the loose fascicles in the right order a system before finishing off the arias. Any changes in the of numbers and cues was used. Such indications key originally contemplated for an aria or were particularly necessary when the various ensemble piece necessitated a suitable components of an opera were not composed modification of the recitative close leading into it. following the order of the libretto but according to Of the 23 numbers in the final version of Lucio the exigencies of the production. Furthermore, as Silla, the three choruses did not create any such each section was finished it was despatched to the problems. Rather, it was the need to adapt to the theater’s team of copyists who made additional preferences and capabilities of the solo singers scores and wrote out parts, eventually returning that led to the modifications. Recitative cadences them to the composer. Evidence from the copies before nine of the eighteen solo arias show for Lucio Silla and from other scores copied at revisions, as do the final bars of the obbligato Milan during the early 1770's shows that the recitative leading into the duet at the end of Act I. Regio Ducal Teatro resorted to at least a dozen Among these nine arias three belonged to Cecilio different copyists who worked simultaneously. (Rauzzini), two to Giunia (De Amicis), two to Lucio Silla (Morgnoni) and one each to Lucio In the autograph, Mozart separated as a Cinna (Suardi) and Aufidio (Onofrio). The results rule all the fascicles containing a set-piece number that can be deduced from the evidence of the and counted these independently of the recitatives; revisions would, in the cases of Rauzzini and De in Act I he also numbered the recitatives from Amicis, suggest that the original keys of their scenes I to VII in a continuous succession. Both respective arias were higher. Hence it was also numbering processes are additional evidence for necessary to transpose their duet from C to A the sequence of composition and revisions, which major. Replaced bifolia in the recitatives in turn explain deviations from this system. preceding Giunia’s aria "Fra i pensier più funesti di morte " (No. 22) and the trio "Quell’orgogliso Directions at the conclusion of the sdegno " (No. 18) could also mean that the keys of recitatives, consisting of the usual formula " Segue these numbers had been changed. Further unusual l'aria di NN " and, in Act I and the beginning of tonal relationships can also be observed between Act II, the text incipit of the following aria, bear recitatives and the two arias for Celia, "Se witness to the priority of the recitatives. In two lusinghiera speme " (No. 3) and "Quando sugl’arsi cases (Act II, scene II and Act III, scene VI) the campi " (No.15): from F major to C major (instead indication " Segue l'aria di Silla " remains, of the expected Bb major) in No.3 and from D although the arias in question were omitted (cf. major to A major (instead of the expected G facsimiles on p. XLVI f.). One copy also retains major) in No. 15. In both cases, it is possible that the arias were transposed up a tone. Such

20 See Alan Tyson, Notes on the Composition of transpositions or the replacement of secondary Mozart’s Così fan tutte , in: Journal of the American arias at the last minute were quite common, but in Musicological Society XXXVII (1984), p. 357. The many cases the transition from the recitative was terminology used and explained by Tyson here and in ignored. An additional modification beyond those his other manuscript studies is adopted in the present already mentioned appears at the cadential bars of discussion. Act II, scene II, the spot planned for Silla’s second

International Mozart Foundation, Online Publications XVI New Mozart Edition II/5/7 Lucio Silla aria (" Il timor con passo incerto "). While no trace As with Leopold's letter 14 November of an aria setting has come down, the fact that 1772 mentioning the first items to be completed at Mozart took the pains to revise the preceding Milan, succeeding letters provide a fairly recitative cadence is in itself evidence that there complete picture of the remaining preparations. once existed an aria which was later dropped. 21 The autograph score and contemporary copies allow us to fill in additional details. If one takes into account similar evidence "The Primo uomo Sg. Rauzzini has now arrived, from autograph scores of other contemporary so there will now be more and more to do and it Italian opera composers as well, then the need to will become livelier ." wrote Leopold to his wife in alter the keys of arias must mean that the solo his next letter of 21 November. A week later he pieces normally existed in at least some could report: preliminary form before the composers appeared "Today De Amicis will set out from Venice and on the scene of the production to polish them off consequently be here in a few days. Then the work in the company of the singers: that completing the will begin properly at last, so far not much has arias for performance really meant adjusting and happened. Wolfgang has up till now only written fully orchestrating them and not composing them the first aria for the Primo uomo, but it is anew. The autograph seems to indicate that in incomparable and he sings it like an angel ." Lucio Silla Mozart proved no exception in this Hence, apart from the choruses, one can assume regard. Such an explanation would account for the that of the 23 numbers Wolfgang had thus far otherwise baffling speed at which busy maestri completed only the three arias for Suardi fulfilled several commissions seemingly within (Secondo uomo), the single number for Onofrio the short span of a few months. As regards the (Ultima parte) and now the first aria for Rauzzini, recitatives, investigation shows that the better "Il tenero moment " (No. 2), or eight numbers in Italian opera composers controlled their tonal all. By 5 December the letters reveal both progress structures carefully, producing a real sense of and unexpected setbacks. Leopold elaborated at moving towards an inevitable goal, which was the some length: cadence leading into the exit aria. Naturally, the tonal orientation thus established was disturbed or "Signora De Amicis … also only arrived yesterday entirely destroyed when the recitative’s cadential evening, and from Venice to Milan with a post bars were rewritten to move to a completely coach with 6 horses needed 8 days for the unanticipated key. 22 Taken together, the likely and journey, the roads were so full of water and dirt. the possible transpositions of the set pieces in Another misfortune for the Cordoni tenor is that Mozart's Lucio Silla leave only five solo arias and he has fallen so ill that he cannot come. So the the three choruses unchanged. Given these theater secretary was send by special post coach circumstances, any attempt to reconstruct a to Turin and a courier to to obtain probable original tonal plan for the opera another tenor, who has to be not only a good encounters so many variables as to prove futile, as singer but in particular a good actor and make a is the assessing of key characteristics of individual fine figure, so that his performance of Lucio Silla numbers in relation to the aria texts. wins acclaim. Under these circumstances, since the Prima donna only arrived yesterday, but the 21 All original, i.e. replaced recitative conclusions, are tenor is not yet known, it is easy to deduce that the presented in the Critical Report (cf. also the facsimiles bulk and the most important parts of the opera on pp. XLVI-XLIX ff.). For further details on the tonal have not yet been composed. " relationships between the independent numbers and their preceding recitatives see below the section Wolfgang added in a postscript: Remarks on Individual Numbers (Section E of this Foreword) and the Critical Report. 22 Cf. on this whole complex of questions K. Hansell, "Now I still have 14 pieces to write, then I have Phil. Diss. 1979 (see footnote 2), pp. 410ff. The finished; of course, one can count the trio and investigation there of tonal procedures in the duet as 4 pieces ." recitatives of opera composers at Milan in the 1770s shows the continuo-accompanied recitatives of If by then Wolfgang had finished Mozart's Lucio Silla proved to be curiously aimless; Rauzzini’s remaining three arias, then the total hence, revisions of their cadenzas actually had a less completed would have been eleven numbers, disruptive effect than, for instance, was true in leaving twelve and not fourteen still to do. contemporary works of Paisiello.

International Mozart Foundation, Online Publications XVII New Mozart Edition II/5/7 Lucio Silla

Wolfgang's reckoning thus shows that he was still "The tenor arrived only last night, and today counting on having four arias for the Primo Wolfgang made 2 arias for him, and still has to do tenore, not just two as in the final version of the 2 more for him [...] I am writing this at 11 o’clock opera. at night, as Wolfgang has just completed the 2 nd The next letter confirms this suppostion. tenor aria ." By 12 December, two weeks before the première, at least three if not seven more solo numbers were The evidence of the modifications in the ready, but as yet not the four tenor arias: autograph presented above, taken together with this letter strongly suggests that after Silla’s first "During these 8 days, as this letter travels to aria (" Il desio di vendetta e di morte ", No. 5) Salzburg, Wolfgang has the most work. For the Mozart set the text " Il timor con passo incerto " blessed theater people leave everything to the last found in the libretto at the end of Act II, scene II. minute. The tenor, who is coming from Turin, is It was, after all, the "second tenor aria" of the one of the King’s court musicians, and is expected opera. The indication " Segue l'aria di Silla " comes on the 14 th or 15 th . Signora De Amicis send in the autograph at the close of the revised version greetings to both of you, she is quite especially of the recitative (fol. 15 recto) and, it should be happy with the 3 arias she has so far. Wolfgang recalled, not after the earlier setting, (fol. 14 has provided her main aria with such passages as verso), which also had eight fewer lines of text; are new and quite particularly and astonishingly (cf. facsimile p. XLVI) Neither the autograph nor difficult. She sings the same so that one has to be any of the 18th-century copies show any remains amazed, and we are in the best of friendship and of an aria here; nor has the piece, even if trust with her ." suppressed, ever turned up elsewhere as a single number. Omission of this number meant that the Of De Amicis' three arias mentioned here, first tenor had to leave the stage with no exit aria, Leopold surely intends her first, "Dalla sponda highly unusual for a principal character. tenebrosa " (No. 4), and her second or principal Furthermore, the long third scene, which already aria, " A se il crudel periglio " (No. 11), which is had 164 bars of recitative (67 of these with string one of the longest numbers in the opera. Whether accompaniment), became unavoidably linked to the third completed piece for Giunia is No. 16, the foregoing 52 bars of simple recitative from "Parto, m’affretto ", or her third-act aria " Fra i Scene 2, resulting in one of the opera’s longest pensier più funesti di morte " (No. 22) is unclear, stretches unrelieved by a lyrical number. but evidence in the contemporary MS copies seems to point to No. 16. It was probably No. 16 Silla’s "third" aria, " D’ogni pietà mi then that was also ready by 12 December while spoglio " (No. 13), and the trio " Quell' orgoglioso Mozart waited with No. 22, Giunia’s fourth aria, sdegno " (No. 18) took final form in between until the following week. rehearsals with the full orchestra, probably on 19 and/or 20 December. It was no doubt the The letters never mention the Seconda impression left by these rehearsals that made donna, Daniella Mienci, or her four arias. But dropping the first of Silla’s second-act arias and since neither the autograph score nor any of the aborting plans for a fourth number imperative. In four principal copies show grounds for supposing the libretto the opera’s very last solo piece, " Se that these pieces presented special problems, then generoso ardire ", is given to Silla. The two one can reckon with their having been completed previous scenes, set in the prisons, close with a during the week or two following 5 December solo for the Primo uomo, set by Mozart as a (when Wolfgang had " still 14 pieces to do "). The rondo-like aria in Tempo di menuetto, followed Act I duet for Giunia and Cecilio must also have by the Prima donna’s solo Ombra scene with aria, been finished during those two weeks: both De both genres favorites in their day. The change to Amicis and Rauzzini were on hand and the final the final stage setting in a grand salon, with a copying seemingly in order in good time. crowd of extras on scene, was to have shown Silla’s moment of triumph as well as introduce the Left until the last week before the première flattering view of the monarchy concluding the were the numbers involving Lucio Silla himself: opera. But a weak substitute singer like Bassano four solo arias and the trio closing Act III. On Morgnoni could never have made any solo Friday 18 December Leopold could at last write: coming after Giunia’s scena convincing. With no

International Mozart Foundation, Online Publications XVIII New Mozart Edition II/5/7 Lucio Silla aria, all three last scenes are strung together as one complex which he clearly intended to proceed long simple recitative, finally leading into the seamlessly - an important reason for the addition closing Coro. of the interlude.

It may have been during the rehearsals on B. THE MUSIC OF THE OPERA stage too that Mozart became aware of the need for two orchestral interludes in Act I. Both clearly 1. General Observations came as afterthoughts. The first to be added was fitted in at the end of Cecilio’s monologue in Seen from the perspective of contemporary Scene VII: seven bars forming a bridge to the Eb Italian heroic opera, the most remarkable aspect of major chorus " Fuor di queste urne dolenti " (No. the entire score is the weaving together of half the 6). The autograph offers no evidence that these entire first act into a varicolored but whole fabric. measures were a later insertion – apart from the Perhaps the only comparable spectacle in Italy at fact noted earlier that the last bifolium of Scene the time, one on an even grander scale, was to VII is a replacement for a discarded one. But three have been seen in the late works of Nicolò copies of the score provide ample proof for how Jommelli at Naples, most particularly in his the original close was reworked. Two of them Armida abbandonata . Written on his return to show an earlier variant of bars 56-57 of the Italy after sixteen years at Stuttgart, Armida recitative followed by a simple C-major cadence incorporated ballet sequences, used much and the directions " Segue il Coro ". No interlude is obbligato recitative and concluded with a great present in these two copies or even anticipated. In scene complex involving cavatina, aria, ensemble the third, on the other hand, the interlude has been and chorus. With Anna de Amicis as Prima squeezed into space left at the bottom half of the donna, the opera had its première at San Carlo on last leaf of the recitative. A still later addition was 30 May 1770, that is, at just the time when the the nine-bar interlude between Silla’s aria "Il Mozarts were in town. We know from Wolfgang's desio di vendetta e di morte " (No. 5) and the first letter to mention the work, written on 29 May beginning of Cecilio’s obbligato recitative at after he had heard the dress rehearsal, that he Scene VII. It never found its way into any of the admired it thoroughly: " Hieri l'altro fùmmo nella four contemporary copies of Act I. It is written on prova dell’opera del sig: Jomela, la quale è una the only leaf (fol. 90) of Milanese paper to be opera, che è ben scritta, e che mi piace veramente found in the score. The rest of the MS consists of [...]" ("The day before yesterday we were at the North Italian paper. (At this time Mozart also used rehearsal of the opera by signore Jomela, which is this paper in Salzburg; cf. Critical Report). While an opera which is well written and really pleases this late interlude serves to make a smooth me [...]") But after the première, undoubtedly transition from the aria and provides time for the influenced by other opinions – Armida met with a change of scene from Giunia’s apartments to the poor reception as did all of Jommelli’s late subterranean tombs, 23 it is likely that it was found Neapolitan operas – Wolfgang iterated the necessary for a reason not considered until late in common criticism: " fine, but much too clever, and the opera’s creation – perhaps only after the aria too stuffy for the theater " (note to his sister sent was finished and in rehearsal. Originally Silla’s with his father’s letter of 5 June 1770). aria of Scene VI was intended to be in C major. Nonetheless, when later he himself had the To suit the singer Mozart wrote it in D and altered opportunity to work with a librettist like Gamerra, the last six bars of the preceding obbligato whose aesthetic preferences clearly ran along lines recitative to cadence in D major instead of C. similar to those long cherished by Jommelli and Now an immediate transition from an aria in C to his collaborator Mattia Verazi, the result proved the A minor opening of Scene VII would of that the impressions from Naples of two years course have posed no problem harmonically. But earlier were not forgotten. Mozart may have found the leap up a perfect fifth from the transposition in D to be jarring in a scene They could but have strengthened those received earlier, during more than a year in 23 The 18th-century chariot-and-pole system for Vienna (September 1767 - December 1768) when moving the flats accomplished the scene changes Mozart became acquainted with Gluck. He surely within a matter of seconds. The system can be seen in heard Alceste , which had its première on 16 Dec. operation at the Drottningholm Court Theater outside Stockholm, Sweden.

International Mozart Foundation, Online Publications XIX New Mozart Edition II/5/7 Lucio Silla

1767 24 and may also have come to know Gluck’s highly effective combination of solo aria, Telemaco (of 1765) and Traetta’s Viennese operas obbligato recitative, chorus and duet. The array of Armida (of 1761) and Ifigenia in Tauride (of orchestral colors is varied and shifting through the 1763). The latter was playing all over Europe frequent admixture of different wind timbres. during 1767/68, including a production at the Regio Ducal Teatro in Milan. Like the operas of Mozart's orchestration in Lucio Silla as a Jommelli, all of these works make abundant use of whole diverges substantially from those of the elements once impatiently discarded from the usual Milanese opera. With most Italian Italian heroic opera libretto during the Arcadian composers represented at the Regio Ducal Teatro reforms of the early 18th century. Thus when in the third quarter of the 18th century the norm Traetta’s Ifigenia was shown at Milan (première was to have about half of all arias and other set 26 Dec. 1767) spectators were warned in the pieces accompanied by the most common impresario’s dedication at the beginning of the ensemble – two oboes, two horns and strings – libretto to expect something so novel as " the and another twenty-five percent by the strings interweaving of ballets and choruses ". In the alone. But in Lucio Silla nearly half of all the works of Traetta, Gluck and Jommelli these varied numbers required an instrumental combination elements were linked together in large scenic only infrequently called for in other works, complexes, particularly through such devices as namely: two trumpets, two horns, two oboes and orchestral interludes, orchestral accompaniment of strings. Four brasses (2 Tr, 2 Hns) participate in recitatives and a general tendency to minimize the twelve set pieces and one obbligato recitative (Act boundaries between recitative, aria, ensemble and I, scene VII). While in five of these the trumpets chorus. Mozart's adoption of these ideas in part of merely double the horns, the other seven actually Lucio Silla is more than a sign of his precocity. He have independent parts for all four brasses. The happened to receive a commission from Milan at timpani appearing in both tenor arias and in just the time the theater had taken on a librettist Cecilio’s first aria of Act II are additional interested in fostering such aesthetic concepts in evidence of Mozart's predilection for imposing Italy. Gamerra had in fact concluded his instrumentations: in the majority of Opere serie "Osservazioni ", cited above, with the hopeful timpani are confined to the overture and the prediction that " in time the practices and brief occasional march or battle scene. On the other observations noted here will be followed more hand, in Lucio Silla arias accompanied by strings widely and regularly ." A composer of sixteen alone are few in number. Occurring would in any case hardly have been in the position predominantly in Act II, they provide a decided to impose a new approach on a tradition-bound contrast to the fullness characterizing most of the Italian opera house. work and serve to portray the characters' more human sides. The first act of Lucio Silla discloses both the desire for variety of spectacle and the Only infrequently does Mozart call for the propensity towards amalgamation. They embrace same group of instruments in two successive not only the three scenes of the third and last stage numbers. A few movements stand out from the setting (VII-IX) but actually all the music from majority in their scoring. These are the numbers Giunia’s aria " Dalla sponda tenebrosa " (No. 4) to calling for independent flute and bassoon parts, the end of the act. Taking in four numbers, this two of them also employing muted strings. Celia’s complex, lasting approximately 35 minutes in Cavatina " Se al labbro timido " (No. 10: Act II, performance, includes a mixture of different scene IV) is the first movement in which two elements, but among them only thirteen bars of flutes replace the oboes, lightly reinforcing the simple recitative. The textural unity thus achieved violins at the octave. Solo flutes figure in only one is unmatched in the rest of the opera, where the other scene, but there more significantly: in traditional alternation of continuo-accompanied Giunia’s Ombra scene of Act III they enter during simple recitative and solo aria with orchestra the last third of the obbligato recitative, where dominates. Here, by contrast, the nearly continual they double the violas at the octave and symbolize participation of the strings allows a smooth and the voice of the hero’s shade. During the ensuing C minor aria " Fra i pensier più funeste di morte " 24 Leopold mentions a performance of Alceste in his (No. 22) the flutes remain, joined by the oboes letter of 30 Jan. 1768 to Lorenz Hagenauer in Salzburg and, for the second time in the opera, two from Vienna.

International Mozart Foundation, Online Publications XX New Mozart Edition II/5/7 Lucio Silla

independent bassoons. The sorrowful and from the traditional thematic and tonal schemes otherworldly atmosphere is more obvious because associated with this superficially more the violins and violas are muted, and the basses conservative pattern. Four other pieces are sonata play pizzicato. The only other part of the opera designs, three for the Prima donna (Nos. 4, 11 and requiring separate bassoon parts is the formidable 16) and the fourth, a sonata-rondo, for the Primo opening section of the final three scenes of Act I, uomo (No. 21). Simpler designs like ordinary where it is Cecilio who calls upon death ("Morte, binary forms to be found in other works and morte fatal"), and when Mozart asks for two particularly in comic operas, do not appear at all, violas here, this is in keeping with the usual so that even the two Cavatine for the Seconda characterisation of the conjuring up of the dead or donna (Nos. 10 and 19) use the sonata principle spirits. Paired violas in octaves with paired flutes and are well over 100 bars. The three remaining and/or oboes, or doubling important bassoon arias, one apiece for the three principal roles (Nos. parts, together with muted strings and pizzicato 9, 13 and 22) are through-composed movements basses were orchestral devices associated with the exhibiting musical structures more complex than Ombra scene since the early 1740's and the operas simple bipartite (AB) or tripartite (ABC) schemes of Jommelli. By the 1770's they had become typically encountered in other Italian heroic or stock-in-trade.25 That they may be somewhat more comic operas of the day. prominent in Lucio Silla then in many another Italian heroic operas of the same time has to do The sonata principle in fact pervades the with the libretto. Gamerra’s predilection for whole of Lucio Silla. Mozart employed it within scenes of gloom and horror struck a responsive the Dal segno arrangement to create nine arias chord in the youthful composer that was naturally unusual in both their length and form. His "A- reflected in his setting. The libretto is only partly sections" alone are fully as long as many a to blame for two other significant respects in complete aria in works of Italian contemporaries! which the opera departs from the norm: overall Since Mozart distributed the nine Dal segno arias length and total amount of orchestrally mainly among the subsidiary roles, the form also accompanied music. Lasting four hours, according becomes a symbol of a character’s lesser station. to Leopold's letter from the day of the première Additionally, the Primo uomo, Cecilio, has two of ("the music alone without ballets lasts 4 hours"), his four arias in this form: the first (No. 2), a Lucio Silla is at least a half-hour to 45 minutes lengthy, old-fashioned set piece, and the second longer than the usual Carnival opera at Milan. (No. 14), an equally traditional alla breve pathetic While the greater number of lines of text to be set air in Eb major. Significantly, Mozart gave Giunia as simple recitative accounts for approximately no dal segno arias at all. ten extra minutes, the real difference lies in the length of the set pieces and, to a smaller degree, In addition to specific formal schemes, also in the somewhat higher proportion of arias in 18th-century Opere serie employed obbligato recitative. Among these items it is not particular combinations of tempo and meter, key so much the inclusion of choruses in the first two and orchestration as well as certain other acts but rather the expansive solo arias which characteristics to clarify the hierarchical position generate the opera’s imposing dimensions. of the character singing the part. Several features Mozart's settings produced arias that are on the belonged specifically to the leading characters: the whole about 50 percent longer than, say, those in slowest tempos, the Alla breve the operas of Paisiello heard at Milan in the same (¢) and sometimes the 3/4 meter (especially in years. combination with a slow tempo), minor keys in general as well as major keys having three or 2. The Arias more sharps or flats, the widest vocal ranges (these emphasized through dramatic leaps and Nine of the eighteen solo numbers in Lucio changes of register), long vocal phrases and Silla are Dal segno arias calling for a literal vocalizations with few rests and fewer, shorter repetition of the end of the first part. Yet in their orchestral interludes. With few exceptions Mozart construction they are of an entirely different order adhered to all these conventions in Lucio Silla. Only the need to compensate for the singer’s 25 Cf. Hermann Abert, Niccolò Jommelli als deficiencies obliged him to restrict the vocal Opernkomponist (Halle, 1908), pp. 135ff. range, melismas and phrase lengths in the arias for

International Mozart Foundation, Online Publications XXI New Mozart Edition II/5/7 Lucio Silla the Primo tenore, entrusting a larger burden to the menuetto , is Mozart's gesture towards the custom orchestra in the form of extensive interludes and of including a "Rondò" for the Primo uomo. His significant motivic material. treatment of the principal theme and concomitant text lends " Pupille amate " the character of a During the second half of the century two "Rondò" while maintaining the tonal scheme and special features came to be reserved just for the disposition of material associated with sonata hero and heroine during the third act. They may form. Whenever the main theme appears it is indicate an attempt on the part of opera producers always in the tonic, twelve bars long, not varied to restore interest in what had become the least melodically or harmonically in any way and vital and most neglected portion of the show. Both presents the text in the same, straightforward appear in modified form in Lucio Silla: the Rondò manner. for the Primo uomo and the Ombra scene for the Prima donna. Because Gamerra displayed a certain reserve in working out the scenes featuring By Rondò is understood here what Cecilio’s quasi-Rondò and Giunia’s Ombra scene, Vincenzo Manfredini and Saverio Mattei called in Mozart's setting they do not attain the breadth the " true Rondò in the French manner " and not that characterizes these scenes in some other another modern sort of Italian vocal piece Opere serie of the period. Thus, Cecilio does not sometimes also called "Rondò" or "arias shortened have a scena with an impressive obbligato Rondò style" ( arie scorciate a rondò ), but more recitative preparing the way for his minuet. And correctly designated "aria in two tempos" ( arie in while Giunia is alone on stage for her Ombra due tempi ). 26 Gluck’s " Che faro senz' Euridice " scene (III, 5) the dimensions are a little too from Orfeo (1762), the most famous example of small.27 the true Rondò and one serving as a model for many others, shows the typical characteristics: it 3. The Recitatives belongs to the castrato Primo uomo, occurs in the opera’s third act and employs a recurring refrain (a) Obbligato Recitatives in the tonic with intervening episodes or couplets in other keys (A B A C A). The "Rondò's" In the Ombra scene as in certain other ingratiating refrain especially brought the monologues in Lucio Silla , the sixteen-year old performer the kind of attention permitted only to a Mozart already revealed a talent for handling leading character; hence the "Rondò" was never orchestrally accompanied recitatives. The kinds of considered proper for one of the subsidiary roles, rhythmic and harmonic problems he had to the first tenor included. With the demise of the wrestle with in the simple recitatives accompanied last great the "true" vocal "Rondò" also only by continuo are less conspicuous in obbligato disappeared in Italy. settings. In Opera seria on the whole, the more significant a role assigned to the orchestra, the Cecilio’s " Pupille amate " in the fourth more obbligati are seen to differ from semplici not scene of Act III (No.21) designated Tempo di only in texture, but in formal aspects too. Rate and type of harmonic change during orchestral 26 Cf. Vincenzo Manfredini, Difesa della musica interludes, for example, are more akin to what one moderna (Bologna, 1788; reprint: Bologna, 1977), pp. finds in a set piece. The less complex overall tonal 194-96; Saverio Mattei, La filosofia della musica, o sia schemes may help explain why Mozart produced La riforma del teatro , published in his 1781 edition of more successful recitativi obbligati in Lucio Silla . the works of Metastasio and cited in Michael Instrumental interludes also employ more regular, Robinson, Naples and Neapolitan Opera (Oxford, repetitious rhythmic patterns and minimize the 1972) p. 148. There are some well-known examples of the two-tempo Rondò in the later works of Mozart, e.g. problems of handling the freer speech rhythms Belmonte’s " Wenn der Freude Tränen fliessen " that at one time were among the chief delights of (Entführung ), Donna Anna’s " Non mi dir " (Don simple recitative but also require the most subtle Giovanni) and Fiordiligi’s " Per pietà bell’idol mio " management for full effect. (Così fan tutte). This latter type, which led directly to the l9th-century Cavatina-Cabaletta, was neither restricted to the castrato Primo uomo (although always to a principal part) nor to a scene towards the end of 27 More extensive analysis of the Lucio Silla arias is in: the opera. K. Hansell, Phil. Diss. 1979 (see footnote 2), p. 448ff.

International Mozart Foundation, Online Publications XXII New Mozart Edition II/5/7 Lucio Silla

In the obbligato recitatives of Lucio Silla organization and the pacing of chord changes. A the ratio of orchestral interludes to texted sections controlling plan was essential, because continuo is just the opposite of that found in most other accompaniment by only a few expert players Italian heroic operas from the same time. In rather than a whole orchestra allowed nearly general, Italian composers distinctly favored the unrestricted use of any of the twelve major keys texted sections: the proportion is about 2:1. In this and many of their relative minors. In Lucio Silla respect they adhered to the guidelines profferred simple recitatives often lack tonal direction by Metastasio at mid-century. In his famous letter because, on the one hand, they do not firmly to Hasse on , Metastasio had warned establish a central tonic key and, on the other against "the inconvenience of making the singer hand, they return constantly to the tonal point of wait for the chord" (" l’inconveniente di far departure. Harmonic sequences are rather brief, do aspettare il cantante più di quello che il basso not go very far afield tonally and revolve solo esigerebbe ") and too long interludes which constantly about the dominant-tonic axis. More "instead of animating, would...render the picture unusual chord progressions, such as movement by disjointed, obscure and suffocated in the frame" thirds, or turns to the minor mode, are not really (" invece di animare snerverebbero il recitativo, used to advantage, for they are only momentary che diverrebbe un quadro spartito, nascosto e deviations with no kind of lasting effect. Usually, affogato nella cornice "). 28 The three most chromatic chord progressions were considered substantial obbligato recitatives in Lucio Silla exceptional procedures and reserved for a few (scene VII in the first act, III and XI in the limited areas in a scene. But in Lucio Silla the second) on the other hand, contain about twice as simple recitatives show rather frequent yet much orchestral as accompanied vocal music. haphazard and hence often ineffective use of these Giunia’s rather large Ombra scene recitative in normally powerful resources. Thus a kind of Act III, "Sposo... mia vita ...", is about evenly aimless wandering and absence of purposeful divided between texted sections and those without tonal design unfortunately mars the greater part of the voice. While several of these scenes are highly the scenes in simple recitative. dramatic and musically very effective, they must have made unusual demands on the histrionic and With the restraints on melodic pantomimic talents of Rauzzini and De Amicis, embellishment, the relatively slow rate of who had to maintain the appropriate mood during harmonic change and the absence of periodic the longer interludes. Thus, in addition to the phrase structure that distinguish it from the set other singular aspects of its libretto and score pieces with orchestral accompaniment, simple already noted, the more frequent, longer and more recitative depends heavily for its effect on instrumentally conceived obbligato recitatives of rhythmic nuance. In this respect too the recitatives Lucio Silla remain atypical: they are not in Lucio Silla fall short. Observing proper accent representative of what opera audiences in Milan and punctuation, as Mozart generally does, is not normally heard or even preferred to hear at the enough to ensure a successful approximation of time of Mozart's sojourn there. the natural cadence of spoken dialogue. The variation among phrases and the way they are (b) Simple Recitatives (secchi) linked together determines the impression they make: in Lucio Silla it is one of uniformity. The The only truly effective recitatives in the young composer depended on a few staple opera are those with orchestral accompaniment. patterns used over and over again. Even more For unlike more experienced Italian composers, important than rhythmic variety is the larger the young Mozart showed that he as yet temporal element, the pacing of phrases and understood only the superficial aspects of whole paragraphs, and here too Mozart betrays constructing a good simple recitative – that little concern for creating comprehensive rhythmic element which constitutes about one-quarter of all schemes. the music heard in an Opera seria. Perhaps the most significant factors contributing a sense of Indeed, it is above all the manner of setting cohesion and aim in a simple recitative are tonal the simple recitatives in Lucio Silla that betrays what young Mozart still had to learn about opera. 28 Letter of 20 October 1747 in Tutte le opere di Pietro It is not surprising then that after the 1772/73 Metastasio , vol. III, pp. 431-32. season, in which Paisiello’s Sismano nel Mogol

International Mozart Foundation, Online Publications XXIII New Mozart Edition II/5/7 Lucio Silla followed Lucio Silla , it was not Mozart but The title Overtura is one that the opening Paisiello who was asked to return to Milan for the of Lucio Silla shares with other Italian operas of succeeding Carnival. Although neither Leopold the same decade, for instance Paisiello’s La Mozart nor Wolfgang mention Paisiello by name frascatana (première: Venice, November 1774), in their letters from Milan during the winter of one of the most performed comic operas of the 1772/73, it is most likely that they met. The later 18th century. During the 1770's the Italian scrittura always required a composer’s presence opera overture was transformed from a three- for at least a month before and during the first movement, fast-slow-fast scheme typical at mid- three performances of a new opera. And in his century, into a single long movement that autobiography Paisiello noted having composed normally took the sonata-allegro form. Paisiello "in Milano Sismano nel Mogolle [sic]". 29 In any claimed primacy for this development in his case we know that the Mozarts heard at least one autobiography of 1811, stating that ″he was the rehearsal and three regular performances of first one to make use of sinfonie in just one Paisiello’s opera (letters of 23 and 30 January and movement (in un tempo solo), thereafter imitated 6 and 27 February 1773). Wolfgang undoubtedly by others ″30 And indeed, the Overtura to La learned from the sure technique of the older frascatana is a fine example of the new composer, particularly with regard to recitatives. disposition.

By contrast, the Lucio Silla overture 4. The Ensembles and the Overture preserves a three-movement design, and its first two movements, lacking development sections, Of the two vocal ensembles in Lucio Silla , are in expanded binary rather than sonata form. the duet at the end of Act I may be characterized And yet, even if externally still traditional, as one of the least adventurous of the important features in the internal make-up of the Overtura numbers in the opera. It follows a standard do point toward the future. The festive opening D scheme encountered in Italian Opera seria after major Molto allegro is very nearly as long in the middle of the 18 th century. Formally, the playing time as the other two movements second-act trio is more interesting. Mozart's combined, a tendency that would ultimately lead preoccupation with sonata form determines the to the disappearance of the other two. With design of its first half, while the second section respect to thematic manipulation, Mozart's first (last text stanza) is in the nature of an extended movement shows itself to be stylistically coda. Neither the duet nor the trio are longer than advanced. Two motives, the hunting horn call a regular aria. Their traditional musical cast is (bars 1-2) and its consequent (bars 2-3), figure related to the conservative texts around which importantly not only in the principal theme, but they are built. There is no hint in Gamerra’s also in the modulatory and closing passages as verses of a tendency beginning to make itself felt well as in the coda. Thus operating more on the in ensemble numbers in some other heroic operas principle of economy and unification than simply of the 1770's, namely, the introduction of further one of thematic contrast, it is closer in spirit to developments in the dramatic action. Such new- overtures of the later 1770's and ’80's than to style ensemble numbers, inspiring – indeed, earlier Sinfonie which were commonly a mere requiring many more lines of text than the old- display of contrasting orchestral textures and fashioned duets, came gradually to resemble the dynamics. action finales of comic opera, if on a reduced scale. But Gamerra’s and hence Mozart's

ensemble numbers in Lucio Silla pay homage to a 30 more restricted, more static aesthetic ideal and Cortoni, op. cit., p. 133. Because a cosmopolitan composer like Paisiello could scarcely have been give no hints of the upcoming ensemble form unaware of operas like Gluck’s Orfeo (1762) and reflecting characters and dramatic action that Alceste (1767), both published, and perhaps also Mozart would develop to mastery in his late Telemaco (1765), one must assume that he considered operas. their opening orchestral movements to be in quite another category from his own. Since Gluck’s served as introductory movements to large scenes with ballet 29 See Nino Cortese, Un' autobiografia inedita di and chorus, they, like the opening of Mozart's Ascanio in: Rassegna musicale italiano III, in Alba , are not really free-standing instrumental 2 (March 1930), pp. 123-55. pieces,

International Mozart Foundation, Online Publications XXIV New Mozart Edition II/5/7 Lucio Silla

C. LUCIO SILLA AT THE REGIO DUCAL the entrance-way where, during opera nights, TEATRO gambling facilities for the nobility were normally in full operation. 32 In that year it was the second 1. Preparations rehearsal with full orchestra that took place on stage on the 19 th , followed by a final recitative (a) Rehearsal Schedule rehearsal on the 21st, another instrumental session on the 22nd and the dress rehearsal on Christmas The schedule of rehearsals for Lucio Silla Eve. In 1772, because they got underway later, all was necessarily a concentrated one. The rather rehearsals for Lucio Silla with orchestra took late arrival of the Prima donna and the delay in place on the stage, there were only three of them locating a substitute singer for the first tenor role preceding the dress rehearsal and all occurred meant that the normal timetable was pushed back within the space of five days. There is no mention by at least a week. When seen against the of any recitative rehearsal after 17 December, but comparatively leisurely preparations for Mitridate , the newly arrived Primo tenore would certainly as described in the Mozarts' letters from Milan in have needed an opportunity to practice the lines of December 1770, the rehearsals of December 1772 his substantial part. Unlike 1770, both Christmas appear all the more hectic. Eve and Christmas Day were free days:

The première performance took place in ″[...] Tuesday 22 nd the third rehearsal, Wednesday both cases on 26 December. But in 1770 the entire 23 rd the dress rehearsal, Thursday and Friday cast had already had two recitative rehearsals and nothing, on Saturday 26 th the first opera [...] ″. one trial run-through with small orchestra by the And Wolfgang added in his postscript to his 12th. By contrast, on the same day two years later father’s letter of 18 December to Salzburg: " die Leopold wrote: morgige Probe ist auf dem Theatro ″, in other ″This morning there was the first recitative words, the first rehearsal on Saturday 19 rehearsal. The second will take place when the December was to be on stage. tenor arrives .″ (Letter of 12 December 1772) While the practice schedule for Lucio Silla During the following week, though, not was uncommonly tight, it was the custom at Milan waiting for the replacement tenor Bassano in any case to wait with the full orchestra Morgnoni from Lodi, the management held two rehearsals of the first Carnival opera until the third additional rehearsals of the simple recitatives. 31 week in December. The reason was that each year Only on the morning of Saturday the 19 th , just a at the close of the autumn season of comic operas, little over a day after the tenor's arrival at Milan, towards the latter part of November, the nobility could the first practice session with orchestra take deserted the city for their country villas, taking the place. And the second rehearsal with the best orchestral musicians with them.33 instruments followed it just one day later, as Leopold’s letter of the 18 December makes clear: (b) The Orchestra

″I am writing this today, Friday the 18 th , for 32 On the importance of games of chance for the tomorrow there will hardly be time left over to economic survival of Milan's Regio Ducal Teatro, write anything. At half past nine in the morning descriptions of the theater's three gambling salons and there will be the first rehearsal with all their activities and the effects of these practices on instruments […] Sunday 20 th is the second opera productions are all discussed at considerable rehearsal […] ″. length in K. Hansell, Phil. Diss. 1979 (see footnote 2), pp. 104ff 33 Cf. Leopold Mozart’s complaint in the letter of 1 Two years earlier the first full rehearsal December 1770 to Salzburg: ″[…] was für ein elendes had been held on the 17th. And probably so as to orchester bey dieser Accademie war; indem die guten leave the stage free for both scene painters and Leute alle mit den Herrschaften da und dort auf dem dance rehearsals, it had been carried on in the Lande sind, und erst in 8 tägen oder 12 zu den Proben theater’s ridotto . This was the grand salon over der opera zurückkommen werden […] ″ ([…] ″what a miserable orchestra at this soirèe; because the good 31 Cf. Leopold's letter of 18 December 1772 to people are all with their lordships here and there in Salzburg: " dieser täge waren 3 Recitativ Proben " (" In the country, and will only return in 8 or 12 days for the the last days there were three recitative rehearsals "). rehearsals of the opera […] ″)

International Mozart Foundation, Online Publications XXV New Mozart Edition II/5/7 Lucio Silla

The orchestra of Milan, renowned since keyboard then until 1781) filled in at the other the 1740's and the days of Sammartini’s keyboard. leadership, numbered around 60 players throughout the last third of the 18th century. It The seemingly curious balance among the was similar both in size and constitution to the lower strings of two cellos against five or more large ensembles at Turin's Teatro Regio and string basses has to do with the sorts of Naples' Teatro San Carlo. Leopold Mozart’s instruments then numbered among the latter description of the Milanese group in a letter of 15 group. 18th-century pictures of Italian opera December 1770 reveals certain features then performances as well as some contemporary rolls common to all larger Italian opera orchestras: of orchestral players indicate several types of basses. Participating in the two continuo groups ″[...] on the 17th will be the first rehearsal with were the two principal double basses, large the whole orchestra, which consists of 14 firsts instruments presumably sounding an octave below and 14 seconds, consequently 28 violins, 2 the cellos. The other three to six basses were harpsichords, 6 double basses, 2 violoncelli,2 designated in Turinese lists simply as bassi or else bassoons, 6 violas, 2 oboes and 2 traverse flutes, as bassi or contrabassi di ripieno ; and pictures of which when there are no flutes always play with 4 this and other orchestras show these as smaller oboes; 4 horns, 2 clarini [trumpets?] etc., viz. 60 instruments. Whether they were violoni, large persons […] ″ cellos, small contrabasses, or a mixture, and whether they sounded at concert pitch or an The string section in particular had a octave lower, is unclear. That none of them characteristic disposition: 28 violins (14 + 14), 6 projected the sound in the way the more violas, 2 cellos 6 basses and 2 harpsichords. The diminutive violoncello or large double bass could comparable figures at Turin in 1773 were: 28, 5, is probably the reason that there had to be more of 2, 8, 2 and at Naples in 1771: 32, 4, 2, 5, 2. them in the orchestra to balance the upper strings. But they had the advantage of being easier to Harpsichords were reckoned among the manage and were therefore used for rhythmic 34 strings until far into the 19th century. Placed at reinforcement of the bass, very possibly playing a either end of the long, shallow orchestra pits, they simpler version of the part. Surviving contracts worked together as a team with the two cellos and with theater copyists call for a full score for the – as pictorial representations and other evidence second harpsichord according to the composer’s makes clear – with the two principal double original, and parts for all wind and strings basses. These two continuo groups of three instruments, including one each for the players each, the backbone of every opera contrabassi di ripieno , but none at all for the two performance, included some some of the highest- principal cellos and double basses. The two string paid instrumentalists. players of each continuo group, standing or sitting close to the harpsichordists, read directly from the At the first harpsichord sat the composer full score and hence needed no separate parts. flanked by the first cellist and first double bass (This practice is reflected in Mozart’s writing the player for the three initial performances of the instrumental bass line in his early opera scores up opera, while at the second keyboard the theater’s to in significantly larger, even over- first harpsichordist (Giovanni Battista size, notes; cf. facsimiles on pp. XLIV ff and L Lampugnani was Primo maestro al cembalo at ff.) that time and until 1786) played with the second cellist and double bass player. For the remaining Significantly, in his list of instruments at performances the first Maestro al cembalo took Milan Leopold Mozart names the two bassoons over for the composer, while the second between the cellos and violas, rather than with the harpsichordist (Melchiorre Chiesa played second rest of the winds. Evidence from other Milanese scores shows that bassoons habitually doubled the 34 At Milan the orchestra at La Scala for example string bass part whenever the oboes had obbligato included two harpsichords until 1802 and retained a parts, and thus played a good deal of the time even ″Maestro al cembalo ″ until 1854; see Giampiero when they did not have independent parts. Their Tintori, Duecento anni di Teatro alla Scala : presence gave the bass line added weight at Cronologia : opere - balletti - concerti 1778-1977 written pitch. As for the oboes, there is even some (Milan, 1979), p. 399.

International Mozart Foundation, Online Publications XXVI New Mozart Edition II/5/7 Lucio Silla evidence that at least at Milan they doubled the names tromba ( da caccia ) or corno ( da caccia ) violins during the ritornellos of arias (but not were used in Italy as generic titles signifying when the voice entered). 35 "brass instruments" and encompassing both trumpets and horns. Like the oboists who also The import of Leopold's remark doubled on flute, horn players were to manage the concerning the flutes at Milan – "where there are trumpet as well. Hence trumpet players were not no flutes always play with 4 oboes " – is debatable. listed separately. While mid-century orchestras Before this time flutes were not listed separately still had only four brass players, by the 1770's four at Milan, Rome, Turin or Naples. Oboists were horns were the norm and the two (or even four) expected to manage the flute parts when trumpet parts were executed by other players necessary. Indeed, in the latter two cities this specializing in those instruments. At the end of his situation obtained into the second decade of the list Leopold writes " etc ." and reckons 60 players 19 th century. That two of four oboists at Milan still in total rather than the 56 he named. At least one did double duty as flautists in 1770 is one other player should be included: the timpanist. If conclusion to be drawn from Leopold's letter. there actually were three additional Another is that there were always four and not just instrumentalists cannot be established (cf. two soprano woodwinds sounding when there additionally the section below, Performance were two written oboe parts in a movement. Practice , in Section E.) Contemporary copies of Lucio Silla bear out this suppostion, since they add the indication " soli " for The Milanese orchestra, thought Charles the oboes in passages of two movements, 36 Burney during comic opera performances in the meaning that otherwise these parts were doubled. summer of 1770, was too loud: "In the opera- More difficult is determining whether the third house little else but the instruments can be heard and fourth woodwind players used flutes or oboes [...]; a delicate voice is suffocated; it seems to me when "playing along" with the principals: did two as if the orchestra not only played too loud, but of the oboists pick up flutes or did they continue that it had too much to do ." 38 on oboe? Until other evidence comes to light it may simply not be possible to answer this The Milanese themselves, on the other question satisfactorily. hand, clearly had a taste for the more complex orchestrations and forceful accompaniment which Another controversial instrument name is their players executed with what was believed to "clarini ". In some mid-19 th century Italian be incomparable precision. It may have been this orchestral lists this term denotes clarinets. But very precision that left Burney with an impression during the 1770's and earlier trumpets were of unusual incisiveness. The Milanese theorist intended. No Italian orchestra listed clarinet Giovenale Sacchi provided a laudatory description players separately before 1773 – or at just the of the orchestra’s technique in his dissertation same time the first solo parts for the instrument Della divisione del tempo nella musica, nel ballo e began appearing in opera scores – and then they nella poesia , published in 1770: were called " clarinetti(e) . Although Leopold wrote " clarini " in his letter, in the score of Lucio "[...] nostri professori [...] sogliono insieme Silla Wolfgang employed one of the more usual andare a tanta concordia, che egli è un diletto Italian terms, " trombe lunghe ",37 that is, straight non pure ad udirli, ma si eziandio a starli a as opposed to coiled trumpets. Until the 1770's the vedere, perchè pare, che una sola mano spinga, e ritragga tutti gli archi. Bene è vero, che

35 l'orchestra milanese è delle più celebri d'Italia, In his autograph score for the opera Il già è gran tempo [...] Or il tempo non si regola, nè (Milan, 1771) Johann Adolf Hasse added on his arrival mai si è regolato con altro, che col cenno della the comment " oboi nei soli ritornelli " in five arias 39 which were otherwise scored for strings alone, mano ." apparently to ensure that the oboists did not play when the voice entered. 36 See No. 6, bb. 45-48 and No. 14, bb. 42ff., 58ff., 38 The Present State of Music in France and Italy 84ff., and 99ff; see also the Critical Report. (London, 1773), ed. by Percy Scholes as Dr. Burney’s 37 Two other common names for trumpets in 18th- Musical Tours , vol. I (London, 1959), p. 67. century Italy were" trombe d(i)ritte " and " trombe da 39 Dissertazioni III del P.[adre] D[on] Giovenale caccia ". Sacchi Bernabita , p. 26.

International Mozart Foundation, Online Publications XXVII New Mozart Edition II/5/7 Lucio Silla

("Our musicians [...] are accustomed to playing Lucio Silla was accompanied by three together with such precision that it is a delight not ballets. While their 32 dancers and two only to hear them, but also to stand and watch choreographers – Charles Le Picq and Giuseppe them, because it seems as though but a single Salamoni "detto di Portogallo" – had undoubtedly hand pushes and pulls all the bows, It is indeed been engaged about a year in advance, decisions true that the Milanese orchestra has been one of as to which ballets they would put on seem to the most celebrated of Italy for a long time [...] have been delayed until the last possible moment. Now the beat is not regulated, nor has it ever been Some copies of the printed libretto 41 contain no regulated other than with the gesture of the ballet titles, while others show that the printer, hand ." ) Giovanni Bianchi, later tipped in an extra page (between pages [12] and 13) after binding had (c) The Ballets been completed. 42 Furthermore, unlike all other ballets staged at Milan during the 1770's, those Besides the vocal entertainment, every with Lucio Silla have neither scenery designations large Italian theater presented entr’acte ballets nor scenarios printed within the opera libretto; nor with both serious and comic operas. Opere serie has a separate " programma " ever come to light. also had a third ballet following the last act. Taken The latter were then customary, particularly with together, the three ballets alone lasted about two the ballets by disciples of Noverre such as Le hours. By the later 1760’s it had become Picq. customary following the opera’s first act to stage the longest and most impressive of the dances: a Neither entr’acte ballet with Lucio Silla pantomime action presenting a well-developed was a new work. The first, La gelosìa del mythological, historical or exotic plot and lasting serraglio , was Le Picq’s reworking of Noverre’s nearly an hour. The ballet after the second act, Les jalousies ou los fêtes du sérail , first produced generally somewhat shorter, more often retained at Lyons on 21 September 1758 with music by the form and limitations of earlier entr’acte François Granier. Noverre had presented another divertissements. Consisting of colorful series of version at Vienna in January 1771 under the title entrées, it featured stylized dances and not so Les cinq soltanes , for which he had had a new much pantomime. Neither of the entr’acte ballets, setting made by Joseph Starzer. Very significant it should be emphasized, normally bore any for the Milan production is the fact that, well relation to the opera they accompanied. Their before even Noverre’s first version, Franz Anton plots, stage settings and music were completely Hilverding had in 1752/53 mounted a ballet in independent from the vocal entertainment and Vienna called Le gelosie di serraglio that from each other. The third ballet, on the other probably corrresponds to another score by Starzer hand, was a triumphal formal dance serving bearing this title, discovered by Gerhard Croll at further to glorify the exalted personages the Czechoslovakian State Archive. 43 A Mozart represented in the opera. It often bore a name like manuscript, long unsuspected as anything but "Ciaccona " or " Ballo nobile ". Occasionally its preliminary ideas for one of his own works, title related it directly to the opera’s plot – as was reveals that the music for Le Picq’s Milanese the case with the ballet following Mozart's Mitridate in 1770, Francesco Caselli’s Dame e cavalieri, che applaudano alle nozze d'Aspasia e d’Ismene ( Ladies and nobles, who applaud at the dell'opera italiana (Edizioni di Torino/ Società italiana di musicologia). marriage of Aspasia and Ismene ) (characters in 41 the opera). The third ballet therefore used the As for instance the copy in the Conservatorio di same stage setting as that at the end of the opera. musica "Giuseppe Verdi", Milan. 42 For example in the copies in the Biblioteca Its music, however, was unrelated to the vocal 40 Nazionale Braidense, Milan and in the Civico Museo work in the vast majority of cases. Bibliografico-Musicale, Bologna. 43 The full set of orchestral parts, the only known source for this early Starzer work, was first reported in 40 K. Hansell, Phil. Diss. 1979 (see footnote 2), pp. a paper by Gerhard Croll in 1974, subsequently 581-920, deals in detail with the ballet at Milan. An published as Bemerkungen zum Ballo Primo (KV Anh. appendix (pp. 943-960) provides a chronology of all 109/135a) in Mozarts Mailander Lucio Silla in: ballets shown there between 1738 and 1778. See also Analecta Musicologica 18 ( Colloqium "Mozart in K. Hansell, Il balletto nell'opera italiana in Storia Italien", Rome 1974 ) Cologne, 1978, pp. 160-65.

International Mozart Foundation, Online Publications XXVIII New Mozart Edition II/5/7 Lucio Silla production was a pasticcio based on at least two nothing with respect to its scenario – an Starzer ballets. 44 anonymous set of orchestral parts entitled Die Schule der Magij , preserved today along with During his sojourn in Milan in the winter other 18th-century Viennese ballet music in of 1772/73, Mozart made hasty sketches covering Regensburg, may represent the original setting. 48 eight pages and including an introduction and 32 numbers of what he entitled Le gelosie del The music for the concluding ballet with serraglio , Primo ballo .45 Not until 1961 did an Lucio Silla , titled La Giaccona [cf. the facsimile article by Walter Senn provide the first concrete on the right on p. LV] in the added libretto page, reasons for questioning the authorship of these is in all probability identical with the opera’s final sketches. Senn showed that the Sinfonia and five chorus. With Gamerra’s textual organization in additional numbers were nearly identical to the mind – three sections for chorus separated by two Sinfonia and five movements of Starzer’s 1771 solo stanzas – Mozart composed the movement in ballet score Le cinque soltane .46 He also pointed the form of a French chaconne. Indeed, in one out that Mozart wrote dancers' names at the contemporary copy the piece is actually entitled beginning of nine movements – dancers at the "Ciaccona ". Like the closing number in many Regio Ducal Teatro that Carnival season – either 18th-century ballets, the chorus follows the as memory aids or as memorial inscriptions; that Rondeau scheme of refrains and episodes hence the sketches were made " under the vivid common in French opera and instrumental music impression of the performance " and were most and the triple meter and double-upbeat rhythm of likely written down from memory. Since there are the French chaconne. 49 As in a staged or ballroom many more than six movements, Senn suggested chaconne, where the whole company dances the that the Milanese production was a pasticcio. This refrain and individual couples the episodes (or last suggestion has been partially confirmed by couplets ), here the three choral stanzas of the Croll, who demonstrated that two other finale chorus in Lucio Silla form the refrains and movements derived from Starzer’s much earlier the solo verses the episodes. Gamerra already score Le gelosie del serraglio . At least one other prepared for the refrain scheme by having whole score is involved in the rather complex tangle of lines and phrases from the first chorus stanza sources. Dance No. 25 amongst Mozart’s ballet return in the other two chorus stanzas. Mozart's sketches, headed with the names of the dancers setting also emphasizes the chaconne form "Casacci e Morelli ", shows a very close through its tonal organization and orchestration. correlation with the ninth movement of François The provision for a chaconne finale with singers, Granier’s score of 1758 for Noverre’s Lyons as part of the opera itself, was extremely rare in production of Les jalousies du sérail .47 Milanese librettos and is surely in the cesa of Lucio Silla attributable to Gamerra. Normally an The second entr’acte, Salamoni’s La opera composer was responsible only for the scuola di negromanzia , was evidently also a music of the Dramma , which nearly always ended revival of a work performed earlier at Vienna. with a short, brisk Coro for the soloists; any While relatively little is known about the ballet – concluding instrumental chaconne would have been provided by one of Milan's resident 44 According to correspondence with Prof. Dr. Gerhard musicians. That the final chorus in Lucio Silla was Croll (Salzburg), Le Picq’s pasticcio used one or two danced by the theater’s company of professional further compositions by Starzer. dancers as well as sung is to be inferred from the 45 Kept in the International Mozart Foundation, list of ballets at the end of the credit pages: it is Salzburg. 46 Walter Senn, Mozarts Skizze der Ballettmusik zu 'Le gelosie del serraglio’ (KV Anh. 109/135a) , in: Acta 48 Fürstlich Thurn- und Taxis’sche Bibliothek, Musicologica 32 (1961), pp. 168-82. Because of the Regensburg, kept there with music from other evidence presented by Senn, the NMA has decided not Viennese ballets of the 18 th century (cf. the catalogue to include Mozart’s ballet sketches in the main series prepared by Gertraut Haberkamp, Munich, 1981, p. (II/6/vol. 2: Music for Pantominea and Ballets, 403). This ballet was probably in two acts and presented by Harald Heckmann) but in the supplement consisted of a sinfonia and 19 numbers (9 + 10). (X/28: Arrangements,Completions and Transcriptions 49 Rousseau’s description of the later 18th-century of Works by other Composers ). chaconne in his Dictionnaire de musique (Paris, 1768/ 47 Cf. K. Hansell, Phil. Diss. 1979 (see footnote 2), pp. Reprint Hildesheim and New York, 1969), p. 78, notes 750-752, where these relationships are first mentioned. all of these aspects.

International Mozart Foundation, Online Publications XXIX New Mozart Edition II/5/7 Lucio Silla most unlikely that yet another purely orchestral left the actual execution of their finished designs chaconne would have followed upon it. under the supervision of their brother Giovanni Antonio at Milan while they went off to Turin. (d) The Scenography Before 1775 the scenographers had no special room for their work but instead began The eight changes of scene for Lucio Silla construction in one of the old Senate chambers in were designed by the theater’s long-resident, the Ducal Palace adjacent to the theater. Final internationally renowned scenographers, the painting of the scenes was completed on the stage, brothers Galliari. Fabrizio, Bernardino and an arrangement that caused many inconveniences Giovanni Antonio Galliari created the scenery for during the busy days before a première. On 21 nearly all the operas shown at Milan between September 1771, nearly four weeks before the 1742 and 1782. By the later 1760’s they had also double premiere of Hasse’s Il Ruggiero and taken over responsibility for the ballets. Mozart's , Leopold commented that "[…] the theater must now be kept free for the The scene designs of the Galliari brothers rehearsals, and so as not to hinder the painters, are unthinkable without the aesthetics of the who are working night and day ." Metastasian period. The hallmarks of their style, presented in great detail by Mercedes Viale- Finally, when all the flats for both opera Ferrero, 50 thus gradually proved more and more and ballets were finished and hung on their inappropriate as the premises of their art began to frames, it was customary to have a separate be challenged. rehearsal for the stage hands, just to practice the scene changes. We know from account books that Since during the 1770's the entr’acte because the Regio Ducal Teatro lacked modern ballets with one opera had on the average five machinery for moving the flats it employed at different stage settings (usually three at least in least a dozen men who were responsible solely for the first entr’acte and one or two in the second), shifting the stage chariots manually and the total number of scene designs needed for a positioning them correctly. Moreover, in order to serious opera with its ballets was at least a dozen. produce its full effect, the scena per angolo In the case of Lucio Silla , no scene designations favored by the Galliaris required considerable for the two entr'acte ballets have as yet been accuracy on the part of the stage hands. Rather discovered. But judging from the length and than aligning the flats in two rows along the sides disposition of their musical numbers and from as in French opera, it meant positioning them Noverre’s scenario for the first, it is likely that La asymmetrically in various groups across the entire gelosìa del serraglio had three scenes and La width and depth of the stage floor. Fabrizio scuola di negromanzia two. Galliari’s sketches offer some notion of the varied and impressive results achieved by this method in The preparations of opera scenery at Milan the stage designs for Lucio Silla . – consisting chiefly of painted flats – proceeded in the same way in the early 1770's as it had done for 2. The Performances and New Plans a quarter-century. For each Carnival opera Fabrizio Galliari, assisted by Bernardino, It is chiefly through Leopold Mozart's presented a series of suggested designs for faithful weekly letters from Milan that we can approval, several for each setting. Many of those follow the history of the opera’s performances for Lucio Silla still survive in albums now at the from its première on 26 December 1772 to its Bologna Pinacoteca and at the Pinacoteca di Brera twenty-sixth and final representation on 25 in Milan, including both those eventually chosen January 1773. The notice on 30 December in the for the representation as well as the ones Gazzetta di Milano , official organ of the Austrian rejected. 51 By tradition, Fabrizio and Bernardino regime in Lombardy, was laudatory as always, if even more perfunctory than usual:

50 La scenografi del ´700 e i Fratelli Galliari , Turin, 1963). 51 Cf. Viale Ferrero, ibid., pp. 226-30, 236 (describing in the Pinacoteca di Brera, Milan). Two of the scene album Tom. XII in the Bologna Pinacoteca) and pp. sketches are reproduced on pp. LVI f. of this edition. 239-43, 246-47 (on albums K.I.17, K.I.18 and K.I. 21

International Mozart Foundation, Online Publications XXX New Mozart Edition II/5/7 Lucio Silla

″Sabato a sera diedesi principio in questo Regio to just three or four of the best-liked pieces in an Ducal Teatro alla rappresentazione del nuovo opera. In this same letter Leopold mentioned for Dramma intitolato il Lucio Silla, il quale, essendo the first time the wish to remain at Milan for riuscito splendidissimo in tutte le sue parti, si è several more weeks and commented honestly on meritamente acquistato l'universale his and his son’s good health: aggradimento.″ ( ″Saturday evening in our Royal Ducal Theater began the performances of the new "There is still no thought of leaving here; it may Opera entitled Lucio Silla which, having happen towards the end of this month, for we want succeeded most splendidly in all aspects, has to hear the composition of the second opera as justly received universal approbation .″) well. We are, God be praised, both well ."

Omission here of the composer’s name was not The second opera at Milan during Carnival uncommon. Leopold reports of course in much 1773 was to be Paisiello’s Sismano nel Mogol . Its more detail in his letter of 2 January 1773, and not première had, according to Leopold's next letter, without humor: originally been planned for 23 January, which meant that Wolfgang's opera would then have ″The opera has started fortunately, although there been performed only twenty times. In order to be were various vexing circumstances on the first held to such a short run during a Carnival season evening. The first circumstance was that the opera with 51 performing days an opera would, judging should normally start one hour after prayer-bell, from the average schedule, have had to meet with this time 3 hours after the bells, consequently it a rather poor reception. But Leopold’s letter of 16 started only at 8 o’clock German time and January 1773 tells us that finished at 2 after midnight . [...] Just imagine, the whole theater was so full at half past five that no- "Wolfgang’s opera has now been performed 17 one more could get in. The male and female times and will in total be performed twenty-and- singers are in great fear, having to show something times. It was indeed planned that the themselves before such an imposing audience on 2nd opera should begin on the 23 rd inst., only the the first evening. The frightened singing persons, thing is going so well that the impresarios, who the entire orchestra and the whole audience had originally reckoned only with 500, have now 1000 to wait, in impatience and heat, some standing, ducati, so the second opera will first be put on three hours for the beginning of the opera. [...] around the 30 th ." and since the theater is otherwise very empty for the first opera, here the first 6 evenings (today The impresario’s decision to extend the run of will be the seventh) were so full that one could Lucio Silla by a few more days showed that the hardly squeeze in, and it is still mostly the Prima work was at least moderately sucessful, if not donna who comes out on top, her arias being quite the sensation that Leopold made it out to be. repeated .″ Certainly the 1000 ducati brought in at the gate for the first seventeen performances was no A week later Leopold was still writing unusually high figure, according to statements of enthusiastically (letter of 9 January 1772): income at the Regio Ducal Teatro in other years.

"The opera is going, thank God, incomparably In a postscript to the above letter (written well, so that the theater is daily astonishingly full, in "code") Wolfgang mentioned a new since the people otherwise do not come in such composition for Rauzzini: "I plan Primo the homo numbers to the first opera if it is not especially make motet which must tomorrow at the theater applauded. Daily arias are repeated, and the people be performed ." The work, the brilliant opera has been daily well received from the first Exsultate, jubilate KV 165 (158a), was just one of evening on, and from day to day received more a number composed during his last Italian sojourn, applause [...]". which also produced six string quartets KV 155- Requesting the repetition of an aria immediately 160 and perhaps the B b Divertimento for winds after its first hearing was the most usual way for KV 186 (159b). 52 the audience to indicate its approval. At Milan the custom was treated as a privilege, since its 52 On the six String Quartets, their genesis in Spring practice was restricted by government regulation 1773 in Milan and Salzburg and their unusual cyclical tonal plans cf. the Foreword (Wolfgang Plath) to NMA

International Mozart Foundation, Online Publications XXXI New Mozart Edition II/5/7 Lucio Silla

Leisure time for Wolfgang’s composition Regarding the letter for Florence, first of all a of these other works resulted from the unforeseen huge confusion happened. Abbé Augustini took the prolongation of the Mozarts' stay at Milan. The whole package with him to Rome, instead of last letter noting performances of Lucio Silla was handing it over to Mr. Troger here. As a result, all from 23 January, the day of the twenty-fourth these things first had to come back from Rome and representation: were only sent off to Florence a short time ago. His Excellency Count Firmian accompanied it "The theater is daily astonishingly full, it will be with a good and strong letter, now we have to performed 26 times. The remaining time is left for wait for the answer." the second [...]". The package in question was a copy of the Rehearsals of Paisiello’s Sismano nel Mogol were score of Lucio Silla. The fact that Wolfgang had then already under way, and it had its première as not yet finished the last arias by 18 December scheduled on 30 January. The desire to hear this would mean either that the copy had not been sent performance was the reason Leopold had given until a day or so later, or else that it had gone off earlier for postponing their departure. But the true without them. In the first case the trip from Milan explanation lay in a plan that he had already set in to Rome and back would have been accomplished motion not later than a week before Christmas. in the brief space of one week or less. The Hope for a favorable outcome kept the Mozarts surviving copy at Turin, the most likely one to waiting in Milan – in vain as it turned out – until have been this presentation score, while the entire Carnival season was over, unfortunately now lacking Act I otherwise has no omissions. Unlike all the other copies, it is almost The first surviving reference to the attempt entirely in the hand of a single scribe (the to secure a post for Wolfgang in Florence at the exception being the trio and Giunia’s last aria), court of Archduke Leopold, Grand Duke of apart from Mozart's own additions of dynamic Tuscany and later Austrian Emperor, occurs in indications and marks of articulation. Its neat, Leopold Mozart's letter of 26 December 1772. Its uniform appearance and Mozart's care in seeing cryptic wording indicates that the subject had that it was as complete as possible, as well as its already been treated in a previous letter, perhaps survival in a private Italian collection all argue in the strange one of 18 December which now shows its favor as the gift to the Archduke. In any case, only two lines on its first side.53 In order to after its return from Rome the score was not sent prevent knowledge of this application from off to Florence again as quickly as Leopold had reaching authorities in Salzburg Leopold wrote all anticipated. It seems that he first wrote another key words in the family’s cipher: letter to Florence around New Year's, for on 9 January he remarked: VIII/20/Section 1: String Quartets . Volume 2 (Karl "From Florence I have news that the Grand Duke Heinz Füssl, Wolfgang Plath und Wolfgang Rehm). has received my communication, has considered On the time in which the Bb Divertimento for Wind it, and will give us news, we still have good originated and on concordances between individual hopes." Not until 23 January did Leopold indicate movements of this work and of the Divertimento for the dispatch of the score: "I have sent Wolfgang’s Wind KV 166/159d (dated Salzburg, 24 March 1773, opera to the Grand Duke in Florence", despite his i.e. shortly after the Mozarts’ return from Italy) with admission a week earlier, in a letter of 16 January a movements from KV Anh. 109 (135 ), from an opera 1773, of the seeming futility of the effort: sinfonia by Paisiello as well as from the ballet- "so far there is indeed no answer come from the pantomime Annette et Lubin (Noverre) cf. Foreword to Grand Duke, only we know from the letter of the NMA VII/17: Divertimenti and Serenades for Wind Baron to Mr. Troger that little hope can be raised Instruments . Volume 1 (Franz Giegling). 53 Cf. No. 271 of the edition of the letters cited in about Florence. Now I continue to hope that he footnote 1; the lines 1-4 of this letter are written on an will at least recommend us." otherwise empty page (= recto), the lines 5-20 on the reverse side of the leaf. On the left side of the leaf, a Whatever the new plans may have been part seems to have been torn off, possibly containing that Leopold was referring to here is unknown. Wolfgang’s postscript (only known from a copy) and But they were important enough to delay still perhaps references to the plan? (The original of the further the return to Salzburg in order to await an lines 1-20 = Leopold Mozart: Internationale Stiftung answer. No doubt to try to placate his employer Mozarteum Salzburg).

International Mozart Foundation, Online Publications XXXII New Mozart Edition II/5/7 Lucio Silla

Leopold feigned continuing attacks of rheumatism and Mitridate had the same destination: the as the reason for his persisting absence, so that Portuguese court. Any copies for the management large parts of every letter from 23 January until would most likely have been lost in the fire of 25 the very last one from Milan on 27 February February 1776 when the Regio Ducal Teatro describe his supposed illness. A coded message on burned to the ground. The destruction of the 30 January explains: theater’s archive in the conflagration also explains "From Florence there is still no answer from the the dearth of documents from the 1760's and early Grand Duke. What I wrote about my illness is not ’70's, an unfortunate situation effectively all true. I was for some days in bed. Only I am hindering further amplification of the evidence as now well and go to the opera tonight. You can cut to the circumstances surrounding Mozart's Lucio off this little leaf, so that it does not fall into Silla. anyone’s hands." D. THE SOURCES Even Wolfgang, while not contributing to this deception in letters home, commemorated 1. The Text these weeks: at the top of the first page of his sketches of the music to the first ballet he wrote Libretto of Milan 1772: the otherwise puzzling word "Reumatismo″ after LUCIO SILLA / DRAMA PER MUSICA / DA the work’s title. Still on 6 February Leopold had RAPPRESENTARSI / NEL REGIO-DUCAL not given up all hope: ″I cannot travel, because I TEATRO / DI MILANO / Nel Carnovale dell’ wish to wait for a gentleman from Florence.″ But anno 1773. / DEDICATO / ALLE LL. AA. RR. / in the end he was forced to admit defeat in the IL SERENISSIMO ARCIDUCA / letter of 27 February 1773: ″in the matter in FERDINANDO / Principe Reale d'Ungheria, e question there is absolutely nothing can be done.″ Boemia, Archiduca d'Austria, / Duca di Borgogna, In addition to the score for the Grand Duke of e di Lorena ec., Cesareo Reale / Luogo-Tenente, Tuscany the correspondence mentions only one Governatore, e Capitano Generale nella other copy, to be made on request for the Lombardia Austriaca, / E LA / SERENISSIMA Archbishop of Salzburg. First alluded to in ARCIDUCHESSA MARIA RICCIARDA / Leopold's letter of 16 January 1773, its BEATRICE DIESTE / PRINCIPESSA DI completion was delayed by the fact that the MODENA. / IN MILANO, / Presso Gio. Batista theater’s copyists were busy preparing for the Bianchi Regio Stampatore / con licenza de' première of the second Carnival opera, as we Superiori. [Cf. the facsimile on the left side of p. gather from the letter of 23 January. Leopold’s LIV.] The dedication ("Altezze Reali", pp. [5]-[6]) remark in a letter of 13 February refers no doubt is signed by the management ("Gli Associati nel to Wolfgang's autograph: Regio-Ducal Teatro"), while the Argomento (pp. ″We speak to the copyist with sugar-sweet words, [7]-[81) by the librettist, Giovanni de Gamerra, is that he should let the score of Wolfgang’s opera unsigned. Copies of the libretto are listed and leave with us, so that we we can take it home with discussed in the Critical Report. The text of the us. Whether we are so lucky remains to be seen.″ printed libretto, with a few negligible exceptions, While Leopold here mentions but a single copyist, corresponds to Mozart's setting. It does of course on 23 January he spoke of "the copyists ″. In any also contain the two deleted arias in the title role, case, none of the surviving 18th century copies of "Il timor con passo incerto" and "Se generoso Lucio Silla other than the Turin score are the work ardire" (cf. the section above, The Cast and the mainly of one scribe. Whether the Mozarts finally Libretto, as well as The Composition of the Opera did receive and take back the requested copy to in Section A). Salzburg and, if so, whether any of the four known contemporary copies represents this score 2. The Music is unknown, but seems unlikely. Wolfgang and Leopold must, however, have been able to take (1) The Autograph the autograph along with them, something not possible two years before in the case of Mitridate, Bound in three volumes by act, Mozart's original when they left Milan at the beginning of February manuscript was among those formerly belonging – perhaps the reason for that score’s to the collection at the Preussische disappearance. One score copy each of Lucio Silla Staatsbibliothek, Berlin. Long thought to be lost,

International Mozart Foundation, Online Publications XXXIII New Mozart Edition II/5/7 Lucio Silla

it is now preserved at Biblioteka Jagiellońska, very possibly the presentation copy that Leopold Kraków. The score shows revisions and Mozart had made in December 1772 - January corrections in the composer’s hand, particularly of 1773 for the Grand Duke of Tuscany. (See the the recitative conclusions (cf. sections The section above, Performances and New Plans.) Composition of the Opera in Section A and Obviously having been copied under Wolfgang's Remarks on Individual Numbers in Section E.) supervision, the MS is valuable particularly for Evidence regarding the not insignificant number the composer’s additions. These take mainly the of additions by Leopold Mozart – tempo form of complementary dynamic indications, indications, scene directions, figured bass etc. – as especially in the second violin part, but also well as regarding entries by in other hands can be include missing tempo indications, found in the Critical Report. instrumentation, accidentals, articulation, ornamentation and occasional lines of text. (For (2) 18th-Century Copies details see the Critical Report and the facsimiles on pp. LII ff.) a) Paris: Bibliothèque nationale, signum Ms. D. d) London: British Library, signum Add. ms. 8540 (I-III). This copy was made (excepting the 16057. This score shows similarities to the same overture) at the time of Mozart's sojourn in Milan library’s copy of Mitridate, which was also once and may well represent the score used by the part of Domenico Dragonetti’s private collection. second harpsichordist during the Milan In both cases, the recitatives with continuo performances 1771/73.54 As was common with accompaniment are not transmitted. Of the set scores made for performances, the MS was the pieces of Lucio Silla, No. 23 is missing. work of a team of copyists, seven in all, who copied out individual numbers as they were * composed. All seven of these scribal hands are represented among the other contemporary copies The description and evaluation of the four of the score, and five of them are found in the l9th-century copies (two each in the collection of copies of Mitridate. (For further details and the Gesellschaft der Musikfreunde, Vienna and identification of the scribal hands, see the Critical the State Library Berlin – Prussian Cultural Report.) The early versions of certain passages are Heritage, Music Department respectively) is present in this copy, but in all but one case (Act II, reserved for the Critical Report. There the scene VI, bb. 63-66) were revised to match the transmitted individual copies – trio, various arias, version performed. A few pages contain added recitatives – from the 18th and 19th centuries are dynamic indications by the composer. likewise listed and discussed in detail.

b) Vila Viçosa: Casa da Bragança, Museu- E. REMARKS ON THE EDITION Biblioteca (Atto I and II), and Lisbon, Biblioteca do Palácio nacional da Ajuda, signum Ms. No. 1. General Observations 47-III-47 (Atto III): This score belongs to the numerous copies of Italian operas made for the Evaluation of the Sources Portuguese court during the reign of King José (1750-1777). This MS likewise consists of Both in text and music the present edition fascicles copied by several scribes, five in this follows in the main Mozart's autograph score. case and all of them represented in the Paris copy. Entries in the hand of Leopold Mozart were This copy lacks both instrumental interludes for adopted without further indication (details in the Act I and shows early versions of several Critical Report). recitatives and two arias, uncorrected. Mozart’s additions to the Turin copy of the score have likewise been adopted in a number of c) Turin: Accademia filarmonica / Circolo Società cases without typographical differentiation, del Whist, signum Ms. 10/V/12-13. This comprises although for dynamic marks a footnote refers to Acts II and III only. Written in the hand of a the Critical Report, which furthermore lists all the single scribe (also found in the Parisian and additions adopted. The other three contemporary Portuguese copies) except for Nos. 18 and 22, it is scores do offer valuable insight into the way the opera took shape, but they were only used in the

54 Cf. Evaluation of the Sources in the Critical Report.

International Mozart Foundation, Online Publications XXXIV New Mozart Edition II/5/7 Lucio Silla

editing to provide comparisons (for variants see a) Ad libitum Instrumental Doublings55 the Critical report). Bassoons: When they do not have a written-out part the bassoons should double the string basses Regarding the sung texts, an attempt was at least when oboes are indicated in the score, made to use, wherever easily intelligible, Mozart’s both in set pieces and in obbligato recitatives, as highly individual style of punctuation suggested in the edition. They may even (predominantly in the recitatives). For the set complement the bass part during ad libitum use of pieces, which Mozart provided with a similarly oboes. sparse punctuation, the printed Milan libretto was consulted. Designations of stage settings and Oboes: According to 18th-century Milanese characters at beginnings of scenes follow the practice oboes may double the violins during wording in the autograph; where these are lacking, ritornellos of arias. they were taken from the printed libretto. The same applies generally for directions to Flutes and/or Oboes: Written-out oboe parts performers within the scenes (on the should be doubled either by a second pair of oboes typographical differentiation see the next section). or by flutes. Flutes are a particularly appropriate choice in slow movements (e.g. Overtura, 2nd Editorial Procedures movement), during depictions of death and the spirits (as in scene VII of Act I and in No. 6) and The general practices of the NMA, as set in love scenes (e.g. No. 7); this ad libitum use of forth by the Editorial Board on p. VII, have the flutes is indicated in the edition. guided this edition with the following modifications: Horns: The standard Italian opera orchestra of the 1. It was decided not to reproduce the old C-clefs 1770's had four horns, so that in Lucio Silla, when in the vocal parts at the beginning of the relevant not given independent parts or when no indication section of the score. Instead, they are included in "soli" (as in some passages of No. 14) occurs, a the cast list on page. 2. third and fourth horn should double Horns I and 2. The typographical style of directions to the II. (Cf. the section The Orchestra above in Section performers reflects the source of the text: C and the Remarks on Individual Numbers below in this section.) Autograph SCENA III or: Appartamenti destinati a Giunia b) Idiosyncratic Brass Instruments con statue all' intorno delle più famose eroine romane. = direction in the scene heading or Trombe lunghe: Because their parts are outside the musical text. straightforward fanfares and chords rather than virtuosic solo displays, in all movements with Libretto trumpet Mozart calls for trombe lunghe, or 18th- [SCENA III] or: [Appartamenti destinati a Giunia century straight trumpets rather than the coiled con statue delle più celebri donne romane.] = clarini (trombe da caccia). direction in the scene heading or outside the musical text. Bb Horns: Although Mozart does not specify [parte] = direction to a performer within the "alto" or "basso" in the four movements calling musical text. for Bb horns it is probable that in Nos. 1, 18 and 19, where trumpets double the horns (in the Editorial addition autograph, both pairs of instruments on one staff), I suddetti = direction in the scene heading or they should play in unison, hence "basso". In No. outside the musical text. 11 the first horn part lies high much of the time, (parte) = direction to a performer within the so that again "basso" is surely intended. musical text. c) Timpani ad libitum Performance Practice

55 Cf. also the section above, The Orchestra, in Section C.

International Mozart Foundation, Online Publications XXXV New Mozart Edition II/5/7 Lucio Silla

Far into the 18th century Italian opera orchestras keyboard intrument in the set-pieces, the present often had no musicians regularly engaged only to editor also recommends accompaniment by play timpani. Either another member of the group harpsichord and the continuo group in all the was recruited when necessary – at Milan for many obbligato recitatives (as indicated in the relevant years it was one of the second violinists – or else a sections of the score). Evidence from18th-century player from a military band was brought in. Their sources shows that the first harpsichordist, who parts, moreover, were frequently not notated in the also led the performance, normally played score. The practice of improvising timpani throughout orchestrally accompanied recitatives, accompaniments where appropriate implies that in not only during accompagnato sections (long held modern performances their addition may also be chords) but also in obbligato passages in which considered. Four movements in Lucio Silla, all the orchestra had more complicated figurations.58 with trumpets, could well tolerate judicious Indeed, it is precisely in such more complex addition of timpani: No. 8 with its symbols of passages that the rhythmic support of the war, No. 18 in the sections with Silla, No. 20 harpsichord proves most valuable. Otherwise it depicting the wrath of Jove, and the joyful final should be noted in this context that in the chorus No. 23 in praise of the emperor. autograph of Lucio Silla the recitatives with orchestral accompaniment occasionally carry d) Realizing the Continuo thorough-bass numbering (mostly in Leopold’s hand). Simple Recitatives: The evidence presented above in the section on The Orchestra indicates that, in e) The Vocal Parts addition to the violoncello and harpsichord, recitativi semplici in Italian heroic opera from this Appoggiaturas: Editorial suggestions for period should normally be accompanied by a appoggiaturas appear in obbligato as well as in the double bass as well. In nearly all instances the simple recitatives and in some of the arias too. bass line is rudimentary enough that the double Their application follows in particular the bass can play the part as notated, while any more recommendations of Giambattista Mancini,59 elaborate improvisations would be the cellist's along with those of Pier Francesco Tosi.60 province. Conforming to the more recent policy of Mozart's own use of appoggiaturas in Lucio Silla the Editorial Board (cf. p. VII, Editorial has of course provided a model for emulation. Principles) the present editor has provided Following their example, the editor has given realisations only for the recitatives with continuo priority above all to textual considerations. Thus alone.56 (Occasional parallel octaves or fifths were in straightforward declarative statements, and tolerated in abrupt harmonic shifts). The present especially in those expressing anger, editor's realizations are only skeletal and follow determination, and the like, the softening effect of the custom of showing long held notes and chords appoggiaturas has been avoided as contrary to the and appear in small print. But 18th-century sentiment being expressed. On the other hand, in practice does of course imply both freedom to passages showing tenderness, melancholy, and improvise as well as application of the Italian similar moods, they are used more freely. manner of foreshortening the notes of the continuo Appoggiaturas of the rising fourth at questions bass: rather than whole-notes and longer values, and of the rising semitone at particularly quarter and half-notes followed by rests expressive moments – to both of which objections predominate.57 Besides occasional use of a have been raised recently61 – are not only

56 At transitions from simple recitative to aria (such as 58 (Cf. also the remarks of Daniel Heartz in NMA II/5/11: Idomeneo, pp. XXVff. (Foreword) and of pp. 282f. to No. 13: b. 28/29 = 1) or from recitative . passages with continuo accompaniment to recitative Stefan Kunze, NMA II/7: Arias Volume I, p. XIXff. passages with orchestral accompaniment and vice- (Foreword). versa, (such as p. 208, b. 61/62 or p. 210 f., b. 75/76), 59 In Pensieri e riflessioni pratiche sul canto the respective connecting chords have been included in figurato, Vienna, 1774 the realisation. 60 In Opinioni de' cantori antichi e moderni o sieno 57 See Stefan Kunze, Aufführungsprobleme im osservazioni sopra il canto figurato, Bologna, 1723 Rezitativ des späteren 18. Jahrhunderts, Ausführung 61 See Frederick Neumann, The Appoggiatura in und Interpretation, Mozart-Jahrbuch 1968/70, Mozart's Recitative, in: Journal of the American Salzburg 1970, pp. 131-144, here particularly pp. 135f. Musicological Society XXXV (1982), pp. 115-137;

International Mozart Foundation, Online Publications XXXVI New Mozart Edition II/5/7 Lucio Silla

recommended by the theorists but are also part of etc.) then Mozart followed a typical Italian custom Mozart's own melodic style. In Lucio Silla he in the autograph: he notated the melisma on the even recomposed the setting in Act II, scene V of previous vowel(s), saving the final "r" until the the interrogative sentence concluding "[...] un very last note of the passage. While the present dittatore?" (bb. 63f.) so that it would close on a edition, using modern practice, shows the final "r" rising fourth! Properly eschewed, on the other together with the rest of the syllable (i.e. "a-mor" hand, are appoggiaturas of the rising whole tone. or "pen-sier" etc., cf. e.g. pp. 65f., bb. 42ff.), the purpose of the older system is obvious and its Cadenzas: In the edition cadenzas are indicated intention should be followed. for all arias showing the usual sign (fermata over a 6/4 chord). Their use is not a matter of choice but Slurs: Mozart's slurring in vocal parts is consistent a stylistic necessity. While their elaboration has with that of his Italian contemporaries. Unlike been left to the performers, it is recommended that modern practice, it was not the custom to slur G. B. Mancini’s advice be followed: together two or more unbeamed notes simply because they were sung to one syllable of text. "La prima si è, che la cadenza preparar si deve Composers were careful in indicating slurs and con la nota graduata, cioè messa di voce; e clearly intended them to have definite rhythmic quanto siegue dev’essere un epilogo dell’aria [...] and/or articulatory functions. In general, vocal e singolarmente dei passi e passagi, che in esso parts tended not to have slurs when the string contengonse, i quali devono essere ben distribuiti, accompaniment was staccato or normal non- imitati e sostenuti di un sol fiato, accoppiandovi a legato, but often were slurred when the violin tutto ciò il solito trillo [...] e quello, il quale [...] parts were so too. saprà prender del motivo, o sia dal corpo del ritornello di quell’ aria quel tal passo, che f) General Notational Matters frammischiato con guidizio più s’accorderà col resto di sua invenzione, ne riporterà lode,. e Staccato: In addition to the dot and large vertical particolare applauso." dash (Strich), Mozart made consistent use of the ("The cadenza should be prepared with a smaller vertical dash to indicate staccato graduated note, that is a messa di voce; and what articulation in the autograph of Lucio Silla. In follows should be an epilogue to the aria [...] and contrast to the dot, which is used for light, made up solely of the figures and passages of floating, more relaxed figures, the small dash which it is composed, which should be well- seems to intend somewhat more tension and yet distributed, imitated, and sustained in one single not the vigor and power associated with the large breath, the whole accompanied by the customary dash. A comprehensive discussion on use and trill [...] And he who [...] knows enough to take a possible significance of the various staccato marks motive or a passage from the body of the is left to the Critical Report.62 For typographical ritornello of the aria, and blend it judiciously with reasons it has not been possible to incorporate the the rest of his invention, will reap particular small dash in the edition (in the NMA, small print applause.") = editorial addition), where it has invariably been The cadenzas in the decorated version of No 14 replaced by the dot, but all occurrences are cited (cf. Appendix, pp. 471ff.) as notated by Mozart’s in the Critical Report. sister Nannerl are excellent examples for these recommendations and can therefore serve as fp (Fortepiano): As in earlier works, Mozart authentic models. (There can hardly be any doubt principally uses this indication in the autograph of that these cadenzas originate from Mozart Lucio Silla to indicate accent, especially in himself.)

Melismas: When a melisma occurs on the final syllable of a word in which the last vowel has been dropped so that it concludes with the consonant „r" (such as "amor[e]", "pensier[o]", 62 See also Die Bedeutung der Zeichen Keil, Strich und Punkt bei Mozart: fünf Lösungen einer Preisfrage, German version: Vorschlag und Appoggiatur in commissioned by the Gesellschaft für Musikforschung Mozarts Rezitativ, in: Mozart-Jahrbuch 1980-1282 and edited by Hans Albrecht (Musikwissenschaftliche (Kassel, 1983), pp. 363-384. Arbeiten, Volume 10), Kassel and Basle, 1957.

International Mozart Foundation, Online Publications XXXVII New Mozart Edition II/5/7 Lucio Silla

combination with the staccato dash in repeated- framing a short Allegro in results in a note figures.63 different proportion, 1:1 since the 8th-note is the common denominator in all three sections. Appoggiatura signs: In Lucio Silla the majority of A convenient solution to the tempo change in No. appoggiaturas are conventionally notated as small 22 from Andante to Allegro, in this case both in 16th notes irrespective of the length they are , is to retain the pulse of the triplet 8th-notes to have in performance. While the original from the slow section for the 8th-notes of the notation has been retained in the edition, it is Allegro. assumed that performers will conform to 18th- century practice and render the appoggiaturas 2. Remarks on Individual Numbers proportionately to the value of the main notes they accompany. Very occasionally, as in the Overtura, Overtura, third movement (Molto allegro): The first movement (bb. 35ff. and bb. 100ff.) a true intentional contrast between violas forte against short appoggiatura is indicated and should be piano violins in this movement (bb. 17ff, 49ff, performed as such. etc.) and several later numbers allows of several explanations. In the present instance, with the g) Tempo and Meter cellos and basses resting, the violas serve temporarily as the foundation. The question of Added tempo indications: Of the five movements balance here is also to be understood in the light lacking tempo indications in the autograph, all of the typical 18th-century opera orchestra’s could be completed from other sources: in Nos. 17 constitution: at Milan 6 violas against 28 violins! and 23, Mozart's own additions in the Turin copy provided the missing indications; in No. 5, the No. 1 Aria: The autograph shows that as in No. 8 Paris and Portuguese copies were the sources, the trumpet doubling of the horn parts was an while in No. 6 the tempo of the preceding afterthought on Mozart's part. Furthermore, none interlude was adopted as consistent with the of the 18th-century copies of the score contains description in the libretto. the indication for trumpets.

Proportions: Five movements for the opera’s two Because this opening aria for a secondary leading roles contain changes of tempo and meter role proved to be by far the longest number in the most satisfactorily effected through the use of opera, Mozart allowed for an abbreviation. In the simple proportional relationships. Some of the autograph at bar 87 (=229) an alternate Dal segno traditional associations of time signatures with indication for the original sign at bar 30 (=172) tempos were still in force in the third quarter of permits a reduction of the repetition by more than the 18th century and provide a reliable guide to half. Since this alternative Dal segno, shown in establishing metronomic relationships. Thus the the edition by the indication Vi-de (pp. 47 and Alla breve ( ) sections in slow tempos in Nos. 4. 54), appears in none of the contemporary copies and 6 are in the proportion 2 : 1 with respect to the of the score, it was probably an addition made Allegro passages in C meter in the same sometime after the première performance. movements, that is: . The direct proportion to be observed in No. 6 is that between Atto primo / scena II, recitativo "Dun’que sperar the two choral sections – the opening Adagio and poss’io": The last two bars of the recitative, which the closing Allegro – both built on the same originally cadenced in g minor, show that the thematic material; the metrical relationship of the following aria (No.2) was originally planned in intervening solo section in , Molto adagio, is another key – probably G major. The change in more complex. In the duet, No. 7, the same the key then required the adjustment of the close proportion 2 : 1 ( ) obtains, but because the of the recitative. Andante here is in -time the effect of the change to the Molto allegro in is less abrupt. No. 3 Aria: The autograph contains five additional The combination in No. 14 of Adagio sections in bars, later crossed out, between the present bars 130 and 131. (See the Critical Report.) The cadenza at first planned here was thus eliminated. 63 Cf. NMA II/5/2, (Rudolph Angermüller and Wolfgang Rehm), p. XXIII (Foreword).

International Mozart Foundation, Online Publications XXXVIII New Mozart Edition II/5/7 Lucio Silla

Atto primo / scena V, recitativo "Sempre dovrò Atto primo / scena VIII-IX, recitativo "Se l’empio vederti": A hastily written revision in the Silla, o padre": In the autograph a pasted-over autograph replaces the final 4 bars (see Critical sheet of paper hides the original conclusion (cf. Commentary), altering the earlier planned D Critical Report) which ended in C major. The major close to G major and implying that the key revised final version points to transposition of the of the succeeding Eb major aria (No. 4) was not succeeding duet (No. 7) down a minor third from part of the original tonal plan. C major to the present A major.

Atto primo / scena VI, recitativo "E tollerare io Atto secondo / scena I, recitativo "Tel predissi, o posso": Mozart's replacement of the last 6 bars signor": Mozart's revision of the last 4 bars to (crossed out in the autograph) with a reworked close in G major instead of with the planned A ending closing in D major rather than the original major cadence (cf. Critical Report) was C major probably means that the following aria undoubtedly a consequence of transposing the (No. 5) had initially been planned a whole tone following aria (No. 5) down a whole tone, i.e. C lower. major instead of D major.

Atto primo / scena VII, recitativo "Morte, morte No. 8 Aria: The fact that none of the 18th-century fatal": The substitution of several folios in the copies calls for trumpets to double the horns autograph (see Critical Report) and the presence would indicate that, as in No. 1, their participation in the contemporary London and Vila Viçosa was initially not anticipated (cf. remark to No. 1 copies of earlier versions for bars 44-47 and 56-57 and the Critical Report). attest to the pains Mozart took with this obbligato recitative. Atto secondo / scena II, recitativo "Ah no, mai non credea": The revision of the original conclusion No. 6 Coro: The somber nature of the text, the was partly occasioned by alterations and additions instructions in the libretto ("s’avanza ... al lugubre to the text, very likely made by Metastasio.65 As canto del seguente coro") and the presence of the the 4 bars which Mozart struck out of the Alla breve meter all clearly indicate that the autograph show (cf. Critical Report), the final Adagio tempo of the preceding orchestral lines at one time read (from the end of bar 32): transition is to be maintained in the opening choral section: the 8th-note pulse continues CELIA: unaltered. (Oh me felice!) SILLA: While ad libitum doubling of the cellos Odio, sdegno, vendetta and basses by a pair of bassoons is appropriate e ogni tristo pensier vada lontano. through most of the opening choral section, the (Rimorsi miei ci ridestate invano.) fact that Mozart clearly notates rests for the bassoons in bars 48/49 preceding their obbligato The revised text extends Celia’s speech with 5 accompaniment of Giunia’s solo is interpreted to new lines, omits Silla’s first two in his final mean that they should be silent during the whole speech and replaces them with 6 others before of the 7-bar instrumental transition to the solo returning to the original closing line ("Rimorsi section (b. 43, 3rd quarternote – b. 49). At the ..."). The cadence of the earlier, shorter setting return of the chorus in bar 84 Mozart specifically was on C major, while the longer replacement calls for bassoon doubling (cf. remark on p. 155 of adopted by the NMA66 concludes in Bb major, the edited score). followed by the indication "Segue l'aria di Silla". The latter indication, referring to the text of the All three 18th-century copies of Act I (but omitted aria "Il timor con passo incerto"67 [see pp. not the autograph) indicate that the wind parts in the instrumental transition at bars 44-48 are to be 65 Cf. the section The Composition of the Opera in played soli; otherwise, as in the greater part of the Section A above. opera, both the oboes and horns should be 66 Regarding both versions cf. the facsimiles on pp. 64 doubled. XLVI f. 67 Cf. the sections The Cast and the Libretto and The 64 Cf. the section The Orchestra in Section C above Composition of the Opera in Section A above. and the section General Observations in this section.

International Mozart Foundation, Online Publications XXXIX New Mozart Edition II/5/7 Lucio Silla

13f and 19 above], does not appear at the end of accompaniment. Both the vocal part and the actual the original version of the recitative, meaning that cadence are the same in the two versions, but in the planned aria for Silla could also have been a bb. 11-12 of the 2 nd version Mozart eliminated the suggestion of Metastasio. This aria and its double repetition of the thirty-second-note violin intended performer must also have had a bearing figure in bar 9 (cf. facsimile p. XLIX). on Mozart's decision to move the key of the recitative cadence down a whole tone, to B b major Atto secondo / scena VII, recitativo "Signor, a’ instead of C major. cenni tuoi": Although neither the libretto nor the autograph score indicate Aufidio’s exit, it is clear Atto secondo / scena III, recitativo "Qual furor ti that he is not present again on stage until Scena trasporta?": A pasted-over slip of music paper in XII. Since he explains at the beginning of this the autograph covers the first version of the recitative that he is to go and prepare Silla’s conclusion (following bar 157), which was only 5 meeting with the Senate, we have added "parte " bars long, maintained the same tempo ( Allegro after his final line (at bar 27). assai ), used a different orchestral motive and cadenced in B b rather than D major (cf. Critical Atto secondo / scena VIII, recitativo "Silla? Report). The latter change suggests that the D L’odioso aspetto": Transposition of the following major of the following aria (No. 9) was not part of aria for Silla (No. 13), probably intended in D the original tonal plan. The backside of the slip major, accounts for Mozart's revision of the itself shows that Mozart cut it out of the original recitative’s last two bars (cf. Critical Report) bifolium concluding scene VII of Act I, later which originally led attacca to D major instead of replaced, since it contains the vocal and continuo the present C major. parts of bars 50-52 of the recitative "Morte, morte fatal" (cf. p 145 as well as the remarks above on Atto secondo / scena IX, recitativo "Che intesi scene VII and also the Critical Report). eterni Dei?": In the opening section, accompanied by continuo, there are apparently two instances (at No. 9 Aria and No. 22 Aria : Mozart's usage of the bars 50 and 115) of a feature not found anywhere term " Contrabassi " to mark the end of bass else in the Lucio Silla , namely the old-fashioned passages to be played only by the violoncelli (at "cadenza tronca".68 Common during the first bars 93, 95 and 97 in No. 9 and bars 45 and 53 in decades of the 18th century (e.g. in the works of No. 22) accords with Italian practice of the period, Alessandro Scarlatti and Händel), this device in which the designation often intended not only meant telescoping the resolutions of the vocal and double basses but all ripieno bass instruments (cf. accompanimental parts so that both the tonic and above the section the Orchestra in Section C).The dominant harmonies momentarily sounded present edition renders all these indications with simultaneously. the nowadays customary "Tutti bassi " (for violoncello/double-bass). Alessandro Scarlatti: Telemaco (1718), Atto secondo, scena II 69 Atto secondo / scena V, recitativo "Di piegarsi capace": While not present in the autograph, an earlier version of bars 63-66 is found in three of the contemporary copies of the score. An earlier 4-bar version of the conclusion (cf. facsimile p. XLVIII and the Critical Report) with a cadence in

C minor appears in both the autograph and the 68 Paris copy. Hence the following (No. 11) may Cf. Pier Francesco Tosi, Opinione de cantori antiche e moderne …, Bologna, 1723, facsimile reprint edited initially have been planned for the key of C major. by Erwin R. Jacobi, Celle 1966, p. 47 et passim . 69 Source: Österreichische National, Vienna, signum: Atto secondo / scena VI, recitativo "Ah si, scuotasi MS 16487 . Facsimile edition in: Italian Opera 1640- omai": Unlike the majority of cases in the opera, 1770. Major Unpublished works in a Central Baroque the reworking of the original version of the and Early Classical Tradition, vol. [23], New York conclusion (cf. Critical Report) was not and London, 1978. – It should be pointed out that occasioned by the need to transpose the following Scarlatti writes the last thorough-bass figure, aria, but rather in order to simplify the orchestral consisting of two numbers, as one unit, as in many of his other autograph scores.

International Mozart Foundation, Online Publications XL New Mozart Edition II/5/7 Lucio Silla

Francesco Gasparini: L’armonico pratico al cimbalo, Venice, 1708, p. 9571

In both the autograph and the Paris copy bar 123 was originally marked Andante and the following Both the cadenza tronca and its typical realization bar – with a repetition of the word "amami" – by the continuo harpsichordist with multiple Allegro. It is probably that Leopold Mozart erased acciaccature, while effective signals of the Andante in bar 123, crossed out "amami" in dramatically significant moments in the recitative, bar 124 and wrote in its place "fuggi" (in the Paris had already by mid-century long given way to the copy, these changes were definitely made in now-familiar and less abrupt successive Leopold’s hand). While the original tempo resolutions, in which the continuo waits, resting indication Allegro in bar 124 of the autograph was until the voice has concluded. left unaltered, the three contemporary copies transmit at this point Presto (in the Paris copy Niccolò Jommelli: Armida abbandonata (1770), once again in Leopold’s hand). Atto primo, scena V70 No. 14 Aria: An authentic guide to embellishing the slow sections of this aria (original: Internationale Stiftung Mozarteum Salzburg) is the ornamented version in the hand of Nannerl Mozart. In our edition, this version is rendered in a double printing of the ornamented aria alongside the original in the Appendix (pp. 471 ff.). It reveals that a singer of the period would have decorated not only the reprise but the opening presentation as well. In addition, the flamboyance Although the presence of the older cadential of some of the added ornamentation shows that formula in Lucio Silla is curious, it may well have the proper tempo for the movement is one that can been motivated in both instances by the special accomodate such virtuosic passagework. poignancy of the action in this key scene, the midpoint of the drama. Hence rather than In their temporary role of foundation for manipulate the rhythm to avoid the unaccustomed the ensemble, the violas in bars 6f, 33 and 87f are harmonic juxtapositions, it is preferable to intended to continue at the forte level against the perform the two bars affected as notated. The piano violins and winds (cf. also remarks on the continuo part provided in the edition offers a less Overtura, third movement). abrasive realization of the two cadences than the conventional earlier 18th-century solution with While entirely absent in the autograph, the acciaccature; but even the use of the latter, as indication "soli" for the oboes and horns appears recommended by Francesco Gasparini, is not out in all four 18th-century copies at the return of the of the question. Adagio tempo in bar 84, including the Turin score

71 Facsimile edition: New York, 1967. – The figured bass in our example is taken from the treatise; there the two numbers in the last thorough-bass figure ("4 3") 70 Source: copy of the score in the Biblioteca del are very close together. Our realisation of the example Conservatorio di Musica S. Pietro a Maielli, Naples. attempts to follow Gasparini’s directions regarding Facsimile edition in: Italian Opera 1640-1770, vol. 91, multiple acciaccaturas and "mordente" at the final New York and London, 1978. chord.

International Mozart Foundation, Online Publications XLI New Mozart Edition II/5/7 Lucio Silla

which Mozart checked carefully. The same proceed directly with the next line of text ("Odo, o indication is also found in the London and Turin mi membra ..."). scores at the end of bar 42 (and the corresponding bar 99). Solo performance of all these passages is Mozart's staccato notation for the violin recommendable, as is the usual doubling of the parts surely intends pizzicato since at the change winds throughout the remainder of the movement. to Presto (bar 46) he indicates "coll'arco". Our edition therefore has "pizzicato" in italics for both No. 19 Aria [Cavatina]: That the winds play a violins in bar 35. mere supportive role is borne out by the fact that of the four contemporary copies two have string No. 23 Finale col Coro [Ciaccona]: For reasons accompaniment only and none indicate trumpets. of space Mozart did not include a viola part. (He used the third staff below the violins for the Atto terzo / scena IV, recitativo "Forse tu credi, trumpets.) Assumed to be Col Basso, a viola part amico": With a hastily done and somewhat has been added in the edition in small print. awkward revision of the last 3 bars Mozart changed the cadential harmony, initially C major, * to A major in order to suit the key of the following aria (No. 20). For the initial inspiration and advice in taking on and carrying out the research No. 20 Aria: Mozart’s decision to abbreviate the preliminary to this edition the editor wishes to instrumental passage leading to the cadenza at bar thank Prof. Daniel Heartz (Berkeley, California). 123 (=197) must have been made late: the three Not only for providing the Editorial Board with a bars hatched out in the autograph following bar microfilm but also for permission to study the 121 are still present intact in two of the 18th- autograph score the editor is grateful to the century copies and a third shows both the original Biblioteka Jagieliońska, Kraków, and for on-the- version and the revision. Furthermore, one of the spot advice regarding the MS to Prof. Alan Tyson omitted bars containing the vocal preparation and (Oxford). A travel grant to Kraków was corresponding text ("non palpi-") was overlooked; generously afforded by the Internationale Stiftung it has therefore been incorporated in small (or Mozarteum, Salzburg. The Fundação Calouste italic) print in bar 122 (or 196) in the edition. Gulbenkian, Lisbon, rendered invaluable assistance in making known the 18th-century copy Atto terzo / scena IV, recitativo "Tosto seguir tu of Acts I and II at Vila Viçosa and in securing dei": Since the 4 bars leading to a final cadence in photocopies of these and of Act III at the C major were struck from the autograph and Biblioteca da Ajuda, Lisbon, The following reworked to close in A major, Cecilio’s menuetto libraries also made available microfilms of 18th- (No. 21) had probably been planned from the century copies of the score - Bibliotheque beginning a minor third higher. nationale (Paris), the British Library (London) and the Accademia filarmonica/Circolo Società del No. 21 Aria: After its initial presentation, the Whist (Turin). returns of the main theme in the first violins are not written out in the autograph; instead, the Thanks are extended to all who have direction "colla parte" is given at each return in assisted in the preparation of this edition: to the autograph (bars 23ff, 73ff, 97ff). In the edition professors Dr. Marius Flothuis (Amsterdam) and the articulation Mozart indicates in the first 10 Karl Heinz Füssl (Vienna) for help in reading bars is therefore retained during the subsequent proof; to Prof. Pierluigi Petrobelli (Rome) for repetitions without any typographical checking the Italian text; and to Mrs. Dorothee differentiation. Hanemann (Kassel) for making the initial translation of the Foreword. Above all to the Atto terzo / scena V, recitativo "Sposo … mia vita Editorial Board of the NMA, above all Dr. …": The plaintive orchestral interlude Wolfgang Plath for knowledgeable advice in symbolizing the voice of Cecilio’s shade at bars problems musical and calligraphic and in 35ff was not part of Mozart's first conception: a particular Dr. Wolfgang Rehm for his continuous, cancellation in the autograph shows that after bar unflagging and scrupulous attention to every 33 (cf. Critical Report) he originally planned to aspect in the preparation of this volume, for his

International Mozart Foundation, Online Publications XLII New Mozart Edition II/5/7 Lucio Silla

patience in settling knotty editorial dilemmas and in refining the German version of the Foreword, and for many months of extensive and friendly correspondence, the editor wishes to express her deepest gratitude.

Kathleen Kuzmick Hansell Stockholm, Autumn, 1985

Translation: William Buchanan

International Mozart Foundation, Online Publications XLIII New Mozart Edition Work Group 5 · Vol. 7 Lucio Silla

Facs. 1: First page of the autograph (Biblioteka Jagielio ńska, Kraków): beginning of the Overture. Cf. p. 5, bb. 1-6.

International Mozart Foundation, Online Publications IX New Mozart Edition Work Group 5 · Vol. 7 Lucio Silla

Facs. 2: Autograph Atto primo, folio 91 r: Beginning of scena VII, cf. p. 139-140, bb. 1-5

International Mozart Foundation, Online Publications X New Mozart Edition Work Group 5 · Vol. 7 Lucio Silla

International Mozart Foundation, Online Publications XI New Mozart Edition Work Group 5 · Vol. 7 Lucio Silla

Facs. 3-4: Autograph Atto secondo, folio 14 (13) r: from recitative in scena II. Cf. pp. 204-205, b. 19 (3 rd quarter-note) to b. 52 and Foreword.

International Mozart Foundation, Online Publications XII New Mozart Edition Work Group 5 · Vol. 7 Lucio Silla

Facs. 5: Autograph Atto secondo, folio 14 (13) r: end of the recitative before No. 11. Cf. p. 243, b. 110 (2 nd half) to b. 115, and Foreword.

International Mozart Foundation, Online Publications XIII New Mozart Edition Work Group 5 · Vol. 7 Lucio Silla

Facs. 6: Autograph Atto secondo, folio 63 v: end of the recitative before No. 12. Cf. p. 268, b. 10 (2 nd half) to b. 14, and Foreword.

International Mozart Foundation, Online Publications XIV New Mozart Edition Work Group 5 · Vol. 7 Lucio Silla

International Mozart Foundation, Online Publications XV New Mozart Edition Work Group 5 · Vol. 7 Lucio Silla

Facs. 7-8: Autograph Atto terzo, folio 23 v and folio 24 r: from No. 20, aria "De’ più superbi il core ". Cf. p. 404 – 405, bb. 114-123, and Foreword.

International Mozart Foundation, Online Publications XVI New Mozart Edition Work Group 5 · Vol. 7 Lucio Silla

Facs. 9: Turin score copy (Accademia filarmonica / Circolo Società del Whist): a page from No. 21, Aria “ Pupille amate ”; cf. pp. 422-423, bb. 83-95 (dynamics in bb. 84-90 in Mozart’s hand).

International Mozart Foundation, Online Publications XVII New Mozart Edition Work Group 5 · Vol. 7 Lucio Silla

Facs. 12: Score copy Turin (Accademia filarmonica / Circolo Società der Whist): a page from No. 22, Aria “ Fra i penaier più funesti di morte ”; cf. pp. 438, bb. 87-92 (dynamics largely in Mozart’s hand).

International Mozart Foundation, Online Publications XVIII New Mozart Edition Work Group 5 · Vol. 7 Lucio Silla

Facs.13 : Title page, page [9] and page [10] from the Milan libretto (copy in the Biblioteca del Conservatorio "Giuseppe Verdi", Milan).

International Mozart Foundation, Online Publications XIX New Mozart Edition Work Group 5 · Vol. 7 Lucio Silla

Facs. 14: Page [11], page [12] and page [12a] from the Milan libretto (page [12a] reproduced from the copy in the Civico Museo Bibliografico-Musicale, Bologna: cf. Foreword).

International Mozart Foundation, Online Publications XX New Mozart Edition Work Group 5 · Vol. 7 Lucio Silla

Facs. 15: Fabrizio Galliari: Rovine. Lucio Silla Atto primo, Mutazione 1 / scene one (Pinateco di Brera, Milan, Album K.I. 18 , leaf 53).

International Mozart Foundation, Online Publications XXI New Mozart Edition Work Group 5 · Vol. 7 Lucio Silla

Facs. 16: Fabrizio Galliari: Sepolcri. Lucio Silla Atto primo, Mutazione 3 / scene three (Pinacoteca di Brera, Milan, Album K.I. 17 , leaf 41).

International Mozart Foundation, Online Publications XXII